ISSUE 61 by MOJEH

THE MODERN PERSPECTIVE

NÂ°61 2018

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18 Chairman SHAHAB IZADPANAH

EDITORIAL

PUBLISHING

Editor in Chief MOJEH IZADPANAH

Brand Manager KELLY BALDWIN

Managing Editor NATASCHA HAWKE

Sales Director NADINE CHEHABEDDINE

Acting Fashion & Beauty Editor KIMBERLEY DYER

Digital Sales LAURA SOBH

Sub-Editor SARAH WALKER-DUFTON

Office Manager JULIA NICOLAE

Contributing Editors HAFSA LODI SOPHIE BEW AIMEE DAWSON ANNIE DARLING LAURA BEANEY

Senior Publishing Executive DESIREE LABANDA-GAVERIA Paris Representative GHISLAIN DE CASTELBAJAC Advertising Inquiries Tel: +971 4 553 90 49 Email: advertising@mojeh.com

Guest Fashion Stylists MICHAEL MILLER STUART ROBERTSON CRISTINA PEREZ-HERNANDO WOO LEE ANNA KLEIN BROOKE WILLIAMS VALERIE FRANCOIS

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LOUIS FOURTEEN FOR MOJEH

Contributing Photographers BORNA AHADI TINA PATNI STEPHANIE GALEA ROCIO RAMOS RUI FARIA CHANTELLE DOSSER VIVIENNE BALLA AMANDA PRATT STÃ&#x2030;PHANE MOUNET

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ART Production and Creative Direction MOJEH MAGAZINE Art Director AMIRREZA AMIRASLANI Graphic Designer BALAJI MAHENDRAN

Cover photographed by Rui Faria Model wears CARTIER COLORATURA HIGH JEWELLERY

WWW.MOJEH.COM Louis Fourteen for MOJEH Follow us on Twitter @MOJEH_Magazine MOJEH Swiss Representative Office: Rue de Rive 4, 1204 Geneva, Switzerland Average qualified circulation (January-June 2016): 12,275 copies. For the UAE printed by Emirates Printing Press LLC. Distribution- UAE: Al Nisr Distribution LLC. Bahrain: Jashanmal & Sons BSC (C). Oman: United Media Services LLC. Lebanon: Messageries Du Moyen-Orient The publishers regret that they cannot accept liability for error or omissions contained in this publication, however caused. The opinions and views contained in this publication are not necessary those of the publishers. Readers are advised to seek specialist advice before acting on information contained in this publication which is provided for general use and may not be appropriate for the readers particular circumstances. The ownership of trademark is acknowledged, therefore reproduction in whole or in part without written permission is strictly prohibited. All credits are subjects to change. Copyright HS MEDIA GROUP FZ LLC 2011

20 CONTRIBUTORS

SOPHIE BEW, Writer For this issue of MOJEH, Sophie Bew delves into the obscure world of the avant-garde. Who is the most avant-garde of the avantgarde? I guess she’s not been born yet. Sporty vibes or sharp suiting? A sporty rollneck and sculpted hoodie feels just right. Most memorable interview? The most charming man on the planet: Jeff Goldblum. Where do you shop? Prada, Balenciaga

Avante-garde fashion in the digital era, page 88

and Loewe are my most searched. Your dream dinner date? Joan Didion – her shrewd observation skills are frankly addictive.

MICHAEL MILLER, Stylist Celebrity stylist Michael Miller created

STEPHANIE GALEA, Photographer

gave Aiysha Hart a high-fashion edge.

Fashion photographer Stephanie Galea shot actress Aiysha Hart in a London studio.

Which new gen designers will go far? Richard Quinn. He was a few years below me at

Concept behind the Aiysha Hart shoot?

Central Saint Martins and even then his work

I really wanted to keep it clean and for it to be

was just as stand-out as it is now.

all about her. I wanted to highlight her form

New York, Paris, Milan or London? I should

through lighting set-ups and sculpted clothing.

probably say London, but I’m going for Milan.

Who has you excited in fashion now? Very

As a city it’s stunning, and many of my go-to

excited to see what Hedi Slimane does with

brands show their collections there.

Cèline. I’m loving Marni and Asai this season.

What was it like working with Aiysha Hart?

Your most memorable subject? Yousra who

Aiysha was wonderful. It’s always great when

I shot at El Gouna. She was such a character.

you get to work with someone who loves

Where are you hanging out? Around Hackney

fashion just as much as you do. Aiysha’s eyes lit

Wick, London. There’s a great community art

up when she saw the Alexander McQueen suit.

scene and it’s beautiful.

If you could work with anyone who would that be? Cristobal Balenciaga. I would happily sit on a chair next to him watching him drape for hours, soaking up information.

Saudi-British actress Aiysha Hart in All Eyes on Aiysha, page 72

STAR OF THE SEASON

Former refugee Halima Aden has become the poster child for diversity and individual empowerment, she talks exclusively to

MOJEH ahead of her visit to Dubai

IN CONVERSATION WITH: THE INCUBATOR AND THE INNOVATOR FFWD founding member Marcela Danielova and emerging Arab fashion designer Haya Jarrar discuss the challenges and trends impacting new-gen brands in the industry

THE GENERATION GAME Three women, one fashion dynasty – with friends including Kanye

West, ‘family’ including Karl Lagerfeld, and a legacy including

the now 10-year-old Peekaboo. Meet the Fendis: fashion’s most extraordinary ordinary family

ALL EYES ON AIYSHA Saudi-British actress Aiysha Hart talks to Hafsa Lodi about using her identity to help change the mainstream narrative

WOMEN’S TALES Saudi director and writer Haifaa Al-Mansour on working

with Miu Miu, giving voices to women in the workplace and

marking milestones for her country

MODELLING A NEW MOVEMENT Branded Saudi’s first supermodel, Taleedah Tamer is conquering catwalks and couture shoots while living the teenage dream

TALKING POINT

Avant-garde fashion in the face of digital

democracy, by Sophie Bew

FLECKS OF GOLD Set your season alight with sumptuous fabrics and plush prints scattered with emblems of winter

128

MAKING WAVES A new approach to jewellery design is proving to be a

132

rich source of inspiration for women with both practical

taste and purchasing power

COLOUR THEORY Tourmaline and opal. Emerald and spinel. Diamond and sapphire. Fresh blends make for even bolder statements

146

DIAMONDS IN THE ROUGH

162

Fun, frivolous and fancy-free. Todayâ&#x20AC;&#x2122;s high jewellery

calls for a nonchalant attitude

SERENE SENTIMENTS Tranquility reigns in high jewellery, introducing a fresh prespective that maintains tradition with a youthful appeal

172

FACE OF A GENERATION

188

Jennifer Lawrence talks exclusively to MOJEH about her latest role as the face of Joy by Dior and life as one of

Hollywood’s highest paid actress

THE SMOKE THAT THUNDERS Mesmerising wilderness and remote luxury are among the rewards of holidaying in Zambia

202

MARKET VALUE Born from grassroots social movements, street art is gaining

206

momentum worldwide. Two of the Middle East’s most talented female street artists are maintaining their creativity

in a field that’s becoming increasingly commercial

HUNGRY FOR MORE While a Dubai gallery champions Palestinian artists abroad, two new major institutions in Palestine hope to take the country’s art scene to new heights

EDITOR’S LETTER Photographed by Rocio Ramos

Photographed by Vivienne Balla

A CHANGE OF OPINION Following on from September’s fashion-packed issue, celebrating the new collections of established names, the October edition featuring the elegant, energetic new high jewellery collection from Cartier on the cover, is focused on the new generation of innovators in fashion and film, fine jewellery and art, who are challenging the norm. At the core of the issue are three Middle Eastern female pioneers, leading the conversation on the changing portrayal of Arab women in their respective fields. Saudi-British actress Aiysha Hart, 28, is set to become a household name, following the release of her big screen debut in Colette this month, alongside Keira Knightley. On page 72, All Eyes on Aiysha, the actress says she hopes she can help change the way Middle Eastern women are viewed: “In the mainstream media, Arab women are mostly portrayed as being weak and docile,” she says. “I hope we can start to challenge these perceptions and present Arab women as complex beings and as agents of tangible change.” A mission supported by the first female Saudi film director Haifaa al-Mansour, who wants to use her role as storyteller to give voices to women, telling Hafsa Lodi in Women’s Tales (page 80): “I don’t want to portray women as victims and complain about situations, I want to portray them as successful and victorious women, who can succeed, and have passion for life.” Both women are breaking through the glass ceiling, inspiring women like them to challenge the status quo. Another such figure is Saudi model Taleedah Tamer, who despite being only 18 years old, is aware of the power her position holds: “I never planned to be the first Saudi model, however being given that title means a lot to me and I believe it is a very important change and a new generation of strong women like this, the future looks bright. Follow me on Twitter and Instagram @Mojeh_I and write to me at editor@mojeh.com

Mojeh Izadpanah Editor in Chief

Photographed by Hana Levan

step in the right direction.” Beautiful, inspiring and innovative, with

THE MOJEH EDIT Test run the unexpected colour pairing of red and pink with modern separates and playful accessories

2 1

Photographed by Carissa Gallo

MOJEH.COM Our carefully curated digital platform delivers engaging, inspiring and timely content with exclusive access to the industryâ&#x20AC;&#x2122;s most influential players.

IN THE SPOTLIGHT Optic white, metallic and crystal shine bright for the new season

Photographed by Tina Patni Styled by Kelly Baldwin

Bag, CULT GAIA at HARVEY NICHOLS-DUBAI

Shoes, NEOUS at MODA OPERANDI

Bag, DIOR

Bag, CHRISTIAN LOUBOUTIN

Shoes, MIU MIU

Shoes, NICHOLAS KIRKWOOD

Bag, SOPHIA WEBSTER at HARVEY NICHOLS-DUBAI

Bag, VALENTINO

Shoes, STUART WEITZMAN

â&#x20AC;&#x153;

My mum has always been my idol. She is brave and a hero in my eyes. She fled the Somali Civil War by foot. Halima Aden

A supermodel at 21, Halima Aden is the face of Max Maraâ&#x20AC;&#x2122;s Middle East Edition collection designed exclusively for the region

STYLE EDIT

STAR OF THE SEASON Former refugee Halima Aden has become the poster child for diversity and individual empowerment, she talks exclusively to MOJEH ahead of her visit to Dubai

Words by Annie Darling

alima Aden is breathtakingly beautiful. The 21-year-old model, activist and humanitarian first shot to fame after her refusal to remove her hijab for the 2017 Miss Minnesota USA Beauty pageant made headlines worldwide. A former refugee, she’s not yet used to being in the spotlight. “I still don’t feel famous,” she humbly admits. “I sometimes have to pinch myself because I have so many fan-girl moments when I am at events or on set.” But the Somali-American supermodel has become just that – one of the most famous faces in fashion and, undoubtedly, the most recognisable within the everexpanding modesty movement. “Wow!” She blushes at the suggestion. “Thank you,” she smiles, “what a compliment.” Halima, who made her catwalk debut aged 19 at New York Fashion Week in 2016, has challenged industry norms since day one. At only five feet five inches, she’s a good five inches shorter than the majority of models and a great deal shorter of leg – she practically had to run to keep up, and had to have low-level heels designed for her to reduce the chances that she’d fall over. She’s charismatically grateful for the support she’s received over the past two years; not just from her family but also influential fashion figures. “I have a lot of people to thank and credit for the success of my modelling career,” she gushes. “First, I thank the Miss Minnesota USA Beauty pageant and its organisers as my participation in the pageant is the reason that this has all happened.” She furthers: “I have a supportive team on my side from my family, friends, manager, publicist, agent and fans. I am extremely fortunate and lucky.” Born in Kakuma, a refugee

camp in Kenya, to a Somali mother, she moved to Missouri aged seven, before her family finally settled in Minnesota. “My mum has always been my idol,” she reveals lovingly. “She is brave and a hero in my eyes. She fled the Somali Civil War by foot, walking 12 days to find safety in Kenya at Kakuma Refugee Camp. When the chance came to be resettled in the United States, she was eager to provide my siblings and I a better life even though she knew no one and didn’t speak the language.” Today, the naturalised American is making history. Although she didn’t win the pageant for which she became front page news, Halima went on to become the first hijabwearing woman to be signed to the agency IMG Models. She was soon picked up by fashion editor and stylist Carine Roitfled (who is high on the list of personalities Halima credits with her success), and has since shot covers for several glossy magazines and fronted campaigns for luxury brands including Max Mara. She’s walked in four of the label’s presentations, and stole the show during A/W18 wearing a charcoal black ensemble, complete with headscarf, leather skirt and boots. “I’ve never felt more beautiful, classy and powerful,” she says when asked about walking with Max Mara for the first time. “I was first introduced to Max Mara when I entered the industry and instantly fell in love.” She’s recently been announced by the brand as the face for its exclusive Middle East Edition, which has been designed specifically for the region to celebrate Max Mara’s new flagship store in the luxury section of The Dubai Mall. “I always love coming to the Middle East.

I love seeing all of the fashionably-dressed women on the streets. The architecture is breathtaking. The people are most delightful… I could go on and on. Dubai is one of my favourite places to visit.” Halima’s work with high-end brands has already had an influence on the culture and attitudes that surround the job of modelling itself. “Having never seen a hijab-wearing woman on the runway, I didn’t know we had a place in the world of high fashion,” she reveals, which is understandable considering that previously – at Milan, London, New York and Paris – nudity was the norm. When asked about Max Mara’s emphasis on accommodating the tastes of modest women, she replies: “It’s amazing and important.” After all, she points out, “the modest community is spending big money on fashion and brands need to recognise that there are clients to be had.” Driven by e-commerce, social media and other non-traditional channels, Muslim consumers spend billions of dollars on clothing each year, and while the industry is finally catching onto society’s demands for diversity, as a hijab-wearing model Halima is still an anomaly – for the time being,

Halima walks at Max Mara’s A/W18 show

at least. “The unknown tends to scare some people,” she says when explaining the industry’s resistance to change. She stays true to the guidelines of her faith, and when first approached by IMG, laid down the following conditions: she must be allowed to wear her hijab at all times; styled in clothes that do not reveal skin; have a cordoned-off changing cubical; and have female-only fashion, makeup and hair assistants. For a business in which models are expected to change in full view, Halima’s requirements could potentially bring about a shift in attitude, helping key industry leaders to see models as individuals. She’s aware that her arrival on the fashion scene conveniently comes at a contentious time in which diversity has become a watchword for freedom. “Fashion and activism can go hand-in-hand,” she says. “I recently heard a statistic that something like 80 per cent of consumers will choose one brand over the other if it has a tie to a charity or cause. Fashion and activism coinciding is not only cool, but imperative for brands today.” Despite her infectious confidence, Halima admits that she does, on occasion, feel insecure about

Photography: Catwalking / Getty Images

Max Mara’s exclusive Middle East Edition arrives at The Dubai Mall store from October 22

“

I would like to be remembered as someone who used the platform I was given to share my story. Halima Aden

her own appearance. “What woman doesn’t?” She asks. “We all have our days and my biggest advice for young women who are feeling insecure is to know that being the best authentic version of yourself is always beautiful. Just be you and embrace what makes you unique.” Her sentiment has proven popular. Of her 737,000 Instagram followers, a huge percentage are young Muslim women. “Being the first comes with its set of challenges, but I am proud to say that 99 per cent of the response has been extremely positive,” she says. “It is important to see someone who looks like, dresses like, or has the same beliefs as you represented… in any industry. I am honoured to be that person in the world of fashion for the modest community.” Has she ever received negative comments on social media? “I focus on the positive as there are way more of those comments than the contrary. The messages I receive on social media, from Muslims and non-Muslims alike, telling me that I inspire them is truly what keeps me going. If I can impact just one person in this world, I know I am doing the right thing.” A charismatic speaker and hard worker from the age of 16 (she worked as a hospital aide to support her studies), Halima is ambitious to make a positive mark on the world. The Somali-American became a United Nations Children’s Fund (UNICEF) ambassador in July, and hopes to bring awareness to programmes that save and protect children’s lives. As a refugee herself, she uniquely understands the needs of the 30 million children around the world who have been forcibly displayed by war and conflict. “It is important for everyone to know that a child, is a child. No matter their status, they deserve the same opportunities. A child in need knows no politics so it’s important that everyone is supporting the hard work UNICEF does,” she says passionately. “For me, having this fame allows me a platform to do something bigger. I am humbled to have been named a UNICEF ambassador. I know first-hand the impact the organisation has on children

Halima and Elsa Hosk backstage at Max Mara’s A/W17 show

around the world as I benefitted from their services as a young girl in a refugee camp. To be on the other side advocating for children globally on behalf of UNICEF is my proudest accomplishment to date.” Halima’s friend and 23-year-old model Gigi Hadid has also been named a supporter of the organisation, and has since opened up about her own father’s immigration process, who was born in Palestine. “I met Gigi on my first ever photoshoot,” says Halima of their friendship.“She has always welcomed me and is extremely kind.” As western fashion houses become more and more proactive in recognising the demands of their Muslim clients, it looks as though Halima’s success is set to continue. But despite her passion for fashion, for the former refugee, it’s important that her success in modelling doesn’t eclipse her humanitarian work. “I would like to be remembered as someone who used the platform I was given to share my story,” she says, “to anyone who would listen, in order to create positive change.”

THE MIDDLE EAST EDIT

THE NEW IT SHOE You may know shoe designer, Amina Muaddi for co-founding the quirky footwear brand Oscar Tiye. The Jordanian-Romanian designer left the company just over a year ago to start her own self-titled luxury shoe line which launched this August. Designed in Paris and made in Italy, the line encompasses 25 styles in 44 variations featuring an array of materials including plaid patterns, mirrored leather, pink and blue velvet, and patchwork of pied de poule. Bejeweled buckles and chains of Swarovski crystals decorate the collection that was inspired by comic actor, Charlie Chaplin. The trademark of the line, however, would have to be the upside-down martini glass heel (pictured left). From Knee-high boots to classic pumps the unusual silhouette appears to be Muaddi’s signature. Exclusively at Level Shoes AMINA MUADDI

MADIYAH AL SHARQI The designer talks about the inspiration and evolution of her eponymous label for A/W18 What was th starting point? This season’s collection was inspired by the concept of duality and and dissimilarity – exploring fluid and asymmetrical silhouettes, and bringing together contrasting fabrics that make up a collection of elevated daytime separates and occasionwear. What’s different? My collections have always been grounded on decadent, luxurious fabrics in subtle colour palettes cut into playful silhouettes, which create statement looks that can work from day to night. As the Madiyah Al Sharqi muse grew up, so did my vision for the brand – designing more tailored pieces that can work as “elevated daywear” What is your favourite piece and why? The dark burgundy leather coat and two-tone sequin embroidered gowns. I always look forward to designing autumn/winter because I get to explore heavier textiles and include a variety of outerwear. Madiyahalsharqi.com MADIYAH AL SHARQI

LAMA JOUNI UAE-based, Lebanese designer Lama Jouni shares the story behind her hip-hop inspired A/W18 collection What was the inspiration for the collection? The collection is called “Minimal Ghetto”. It was inspired by my love of hip hop music and the collection pays homage specifically to the heydays of hip hop in the ‘90s when rap functioned as a form of expression for the African-American community especially in New York, as well as a time the prompted the infamous rivalry between the East and West Coasts fueled by rappers Tupac Shakur and The Notorious BIG. Is there a new aesthetic this season? I’ve introduced new fabrics this season like mohair and velvet, but the Lama Jouni aesthetic will always be synonymous with minimalism. Over the seasons I’ve learned and refined the balance between my signature aesthetic, visual inspirations for the season and what works commercially with customers and buyers. What are the key pieces? This season we collaborated with Kodak International on a series of t-shirts printed with the Kodak logo. When I was doing research for the collection, I stumbled on a photo of Tupac in front of the Kodak store and that’s how the design idea came up. Some of our best sellers are also the Tupac suit jacket with multiple leather buckle belts at the back and matching tailored palazzo trousers in grey pinstripe, and the Diddy optic white jacket with patch pockets and denim cuttings with matching pants. Lamajouni.com LAMA JOUNI

THE BAG EDIT Eveningwear is big business in the region, so trust designers of Middle Eastern descent to provide us with the perfect accopaniment to a glorious gown – showstopping minaudieres

MARZOOK

L’AFSHAR

NATHALIE TRAD at OUNASS

THE COLLABS

STELLA #STANSMITH She’s a big name designer committed to crueltyfree fashion, he’s a tennis icon with a shoe named after him. Not an obvious collaboration, but Stella McCartney and Stan Smith celebrate their ongoing relationships with Adidas with the launch of the first-ever vegan Stan Smith shoe, available at Stella McCartney stores worldwide.

STELLA #STANSMITH

KARL LAGERFELD X PUMA

MALONE SOULIERS CAPSULE COLLECTION

KARL X PUMA

MALONE SOULIERS X THE MODIST

When Puma invited Karl Lagerfeld to create an exclusive

Cult shoe brand Malone Souliers has teamed up with luxury

sneaker style in celebration of the brand’s 50th anniversary, the

e-commerce site The Modist to create a four-piece capsule

collaboration developed into a full-blown collection. The 13-piece

collection. The signature ‘Maureen’ and ‘Mika’ double-strapped

capsule merges Lagerfeld’s monochromatic aesthetic with Puma’s

silhouette is reimagined in jewel-tone velvet, available exclusively

athleisure outlook. Exclusively at Puma.com from 18 October

at themodist.com.

J.W. ANDERSON CAPSULE COLLECTION

J.W. ANDERSON’S FIRST CAPSULE British designer Jonathan Anderson has teamed up with e-commerce heavyweight Net-a-Porter on an exclusive capsule collection. Created with the mid 19th-century quote “Art for Art’s Sake” in mind, the line includes knitwear, oversized trousers, Top, Jeans and Bag, J.W. ANDERSON EXCLUSIVELY at NET-A-PORTER

and asymmetrical dresses that feature prints from designer, Christopher Dresser and architect EW Godwin who both embody the British Aestheticism movement.

TOD’S FACTORY

TOD’S X DELL’ACQUA Alessandro Dell’Acqua inaugurates Tod’s latest endeavor. The luxury brand has invited various talents to reinterpret the Italian label for a series of collaborations which will drop in stores throughout the year. The designer has put his spin on the classic Tod’s “gommini” loafer, moccasins and flat-heel ballerinas, reimagined with a velvet bow or as an ankle boot in his signature “rosa cipria”, Tod’s tan and simple black. The first collection will arrive in Tod’s stores by mid-November.

THE ACCESSORIES

Cowboy boots at Paris Fashion Week

CHLOÉ

Boot, ALEXA CHUNG at MATCHESFASHION

CHLOE BEJEWELED Natacha Ramsay-Levi’s new season jewellery collection for Chloé sees stacked earrings, knuckle-duster rings and totems necklaces inspired by the esoteric illustrations of Rithika Merchant – modern, statement, and you need them now.

GIDDY UP Bag, CÉLINE

This season designers have been taking inspiration from the wild west, from fashion to footwear. The

PHOEBE’S FINALE

original purveyor of the look, Isabel Marant brought

This season marks Phoebe Philo’s last as creative director of Céline and also of

show and the fashion crowd followed. A two-tone

her finale bag design – the Big Bag tote. With its minimal hardware and slouchy

finish is modern and wearable, seen at Givenchy,

silhouette it’s set to be a collector’s item as Phoebe fanatics bid farewell.

Ganni and Alexa Chung.

the cowboy boot back to the runway at her A/W18

Photography: Getty Images, GoRunway.com

Boots, GANNI at NET-A-PORTER

HOT HOSIERY

ADAM SELMAN

CHANEL GUCCI

KARL’S NEW EYEWEAR Dutch model Luna Bijl poses for Karl Lagerfeld in Chanel’s AW18 eyewear campaign. All about glamour, oversized shades come subtly tinted, embossed with Chanel’s iconic quilting and unmistakeable interlocking Cs.

Sunglasses, CHANEL

TRENDING: CARAMEL BAGS Whether buttery leather, crocodile or brushed velvet, caramel-coloured bags are having a moment

M2Malletier at OUNASS

Lemaire at MATCHES FASHION

By Far at NET-A-PORTER

JEREMY SCOTT

MOLLY GODDARD

THE .COM

The MatchesFashion x Prada Collection on display in the new space at 5 Carlos Place in London with an installation by Robert Storey of Storey Studio

MATCHESFASHION X PRADA COLLECTION

MATCHES NEW HOME Last month, 5 Carlos Place, the new physical home of international e-tailer Matches Fashion in London, opened its doors to the public. Located in the city’s booming Mayfair district, the five-storey townhouse is both brickand-mortar store and interactive space for the retail giant’s upcoming calendar of events, which customers can live stream or attend in person. It will also be where the new podcast entitled What’s On will record – episodes will feature exclusive content surrounding the events hosted at the townhouse, featuring exclusive talks with designers such as Molly Goddard, Richard Quinn and Luella Bartley. To celebrate the opening, Matches have partnered with Italian powerhouse Prada to launch an exclusive collection. An extension of the science-fiction ‘Ultravision’ A/W18 runway collection, the capsule encompasses eighty womenswear pieces, highlights of which are neon sneakers, fluorescent dresses, and ladylike tweed separates complete with Prada’s signature twists. For the full schedule of events visit matchesfashion. com/5carlosplace

THE OUTNET ARABIA Everyone’s favourite off-season fashion e-tailer, The Outnet launches in Arabic this month to make the experience of shopping its roster of luxury brands that much easier for Middle East nationals. Already one of the e-tailer’s most successful regions – we do love to shop – Alessandra Rossi, Off Season President of The Outnet, says it is a no-brainer to improve the shopping experience for local customers, “It’s an interesting market for fashion in general and we are seeing an increased audience month by month,” she explains. As some of the world’s highest net-worth individuals, it seems local ladies are some of the most engaged on the planet, shopping more frequently than most, with higher basket values (spending more cash) and know who they are. “The age group is slightly younger than the average at 35 years plus,” says Alessandra. “She’s a luxury shopper who buys current season and likes to mix and match it. She knows her style.” Perhaps not breaking news, but among the brands that sell the best are Stella McCartney, Pucci, Valentino and more surprisingly, The Outnet’s in-house label Irish & Ink, which only launched in 2012. “Iris and Ink is one of the top five brands for the region,” shares Alessandra. “The collection is now 250 pieces including accessories, and this A/W18 we launch shoes, so now it’s a proper collection.” With regionally-relevant curated edits and hundreds of luxury pieces at a fraction of the price, it’s the go-to for

IRIS & INK A/W18

designer basics and occasionwear alike. Theoutnet.com

PRE-ORDER ERDEM Be the first to pre-order Erdem’s spring/summer 2019 collection on Moda Operandi. Inspired by the The National Portrait Gallery’s photography archives, whimsical designs in his signature feminine aesthetic are matched with elegant, embellished accessories. Modaoperandi.com

HALM

HALM The UAE-born brand is only in its second year, but the butter-soft suede and louche designs have made them an instant hit. Reassuringly expensive, they defy the trend for logomania, instead offering timeless, practical pieces that are beautifully adaptable. This month sees the launch of the

1. Gloves | 2. Earrings | 3. Pump, All ERDEM

ecommerce site halmonline.com.

THE POWER OF PINK

Prabal Gurung’s new collection channels a multicultural feminism in the ultimate celebration of female power

Nepalese-American fashion designer Prabal Gurung is not one to shy away from politics in his designs. Last year he sent models down the runway wearing tees with slogans such as ‘This is what a feminist looks like’ and ‘I am an immigrant’ blazing across their chests. This season the narrative continued. Gurung found inspiration in two female-centric societies: India’s activist Gulabi Gang and China’s matriarchal Mosuo tribe. Both groups consist of powerful women who choose to wear pink as their uniform. His collection boasted engineered patchwork, utilitarian quilting and hand embroidered sequin dresses in a range of rosy hues. In tribute to his hometown of Kathmandu, where he was raised by a single mother, the designer opted for Nepalese prints which decorated fringed scarves and wrap skirts. To further his feminist agenda, Gurung invited #MeToo founder, Tarana Burke to watch the show from the front row. But the most powerful moment had to be during the finale when models, including the Hadid sisters, walked side by side with arms linked for their final trot down the runway. The colourful march of diverse models made for a breathtaking moment sending the message that we are indeed stronger when united. Models take their final walk down the runway at Prabal Gurung’s A/W18 show

Words: Kimberley Dyer. Photography: GoRunway.com

THE COLLECTION

SIMONE ROCHA X MONCLER

THE STYLE

The Moncler Genius project asked eight collaborators to reinterpret its classic down jacket. The result is a collection diversified like never before. The fourth project with Irish designer, Simone Rocha has just been released with four more capsules to follow this year with other designers.

LONGCHAMP

LONGCHAMP REVIVED Sophie Delafontaine’s Longchamp has evolved season-on-season. A/W18, with its broderie anglaise dresses and thigh-high braided boots, made popular by Kendall Jenner, are proving the label is much more than Le Pliage.

MONCLER 4 SIMONE ROCHA

GILBERTO CALZOLARI

ECO BOOST Italian fashion designer Gilberto Calzolari has been announced as winner of the prestigious Franca Sozzani Green Carpet Challenge Award for Best Emerging Designer. His winning gown was made with used jute coffee bags from Brazil, purchased from the Navigli market in Milan where they are sold to be used as barriers to curb the flooding of canals, that occurs as a result of climate change. The dress is also lined with an archival fabric and embellished with Swarovski’s lead-free Advanced Elements Crystals. Explaining the inspiration behind his sustainable approach he tells MOJEH, “In my work the natural element has always had an important role, even concept-wise, and it’s always been a constant source of inspiration, so much so that on the occasion of my first collection, inspired by the Arctic, I partnered with Polar Bears International. This commitment is reflected also in the choice of materials, as I love the juxtaposition of unusual fabrics, sometimes even technical and innovative ones, but always keeping in mind the environment.

THE MOOD

PRADA

ASHISH

FENDI

BALMAIN

HOUSE OF HOLLAND

DOLCE & GABBANA

CHRISTIAN DIOR

PICTURE P E R F E C T

VERSACE

Words: Kimberley Dyer. Photography: GoRunway.com

Fashion plays into the social media game with big personality pieces that pop off Insta feeds As bloggers and influencers continue to gain traction, the power of Instagram is impossible to ignore, so sales-savvy designers are getting on board. With a single image capable of gaining tens of thousands of likes and immeasurable reach, the ability to create photo-ready, high-impact pieces is essential. Enter logomania, out-there accessories and a stronger brand DNA. Oh, and collaborations make for excellent social feed fodder. Dior’s accessories, Balenciaga’s sneakers and Versace’s archive prints have all seen major success thanks to a photogenic quality, and this season more brands follow suit: loud slogans at Dolce & Gabbana on everything from sunglasses to t-shirts, Balmain’s bandages and statement branded accourements from mega brands Fendi, Prada and Bottega Veneta.

ON THE STREET

A guest wears a Meli Melo bag and a Burberry coat outside Delpozo

Anna Vitiello in a tartan cape during London Fashion Week

Jeanette Madsen navigates the streets of London

CHECK MATE Spotted in everything from Egyptian blue plaid trousers to checked kitten heels, street style starlets are serious about their favourite print. Coloured plaids make this classic fabric feel fresh whilst playful handbags elevate neutral tartan prints.

Gilda Ambrosio carries a The Volon bag at Milan Fashion Week

Pernille Teisbaek at London Fashion Week

Words: Kimberley Dyer. Photography: GoRunway.com

Miu Miu kitten heels take to the street during London Fashion Week

SET THE TONE Tonal dressing took on new meaning this season with the fashion elite opting to dress head-to-toe in a flash of colour. Master this style in a matching two-piece set or layer different shades of the same hue for a softer look.

Tonal layers at Temperley London

Regal purple reigns supreme

Orange accessories are loud and proud

Head-to-toe pink at London Fashion Week

Chriselle Lim at Alberta Ferretti during Milan Fashion Week

Laura Comolli goes bold in yellow

TALKING POINT

IN CONVERSATION WITH:

THE INCUBATOR AND THE INNOVATOR FFWD founding member Marcela Danielova and emerging Arab fashion designer Haya Jarrar discuss the challenges and trends impacting new-gen brands in the industry Words by Hafsa Lodi

Marcela describes FFWD as a “magnifying lens” for Middle East fashion

Photography: Borna Ahadi

he fashion industry has undergone some significant transformations of late, and while fur-free movements and see-now-buy-now concepts have taken hold among established houses internationally, emerging brands are disrupting the industry in their own ways. Marcela Danielova, a former model who has worked with Saint Laurent and Karl Lagerfeld, is a founding member of the core team at Fashion Forward Dubai (FFWD), and over the past five years, has witnessed a number of talented new brands making waves in the Middle East. “I monitor the landscape of talent in the region,” she says, describing FFWD as the “magnifying lens” for the Middle Eastern fashion industry. In her role as designer relations director, Marcela has had a front-row seat, both at runway shows and behindthe-scenes, to the new-gen movement spearheaded by a fresh crop of young designers who are challenging industry norms, questioning traditional practices and using social media as a driving force for gaining global brand awareness. Marcela believes that international retailers are taking newfound notice of emerging Arab brands because of the diverse range of designs they now offer. “Middle Eastern designers have always been known for couture in the past, like Elie Saab and Zuhair Murad, but in the last six years many ready-to-wear brands successfully popped up and penetrated the Middle East’s borders,” she says. From a design perspective, Marcela notes that this new generation of fashion designers is challenging age-old definitions of luxury, opting for alternative textiles, and street-inspired aesthetics. “Today, luxury is streetwear,” she says, pointing out the fact that a branded cotton t-shirt can be considered a fashion investment. “In the past, luxury was very different visually, and it would be very obvious if somebody was wearing something expensive.” One new designer questioning pre-existing notions of

luxury through textiles is Jordanian fashion designer Haya Jarrar, who debuted her first collection this season, and describes her brand, dubbed Romani, as “high-end, affordable luxury.” A colloquial term for gypsies, Romani is a name that reflects Haya’s contemporary, rebellious-bohemian aesthetic, and her unconventional take on luxury indeed deviates from traditional definitions of the term. While leathers and feathers feature in her garments, she uses a fair share of plastic and denim, too, elevating the casual textiles with sophisticated cuts, exposed seams and utilitarian hardware. Although a number of new designers are bypassing fashion school entirely, opting instead to recruit creative, hands-on partners, Haya moved from Amman to London to study fashion, where she was educated from a variety of angles – she trained in fashion design at the London College of Fashion, fashion styling at Condé Nast College of Fashion and Design and interior design at the Inchbald School of Design. Afterwards, she moved to Dubai and worked as a buyer with the Chalhoub Group, focusing on luxury department store Tryano, which gave her the opportunity to familiarise herself with the business side of the industry. “That’s what I was missing – creativity isn’t enough to launch a fashion brand,” she says. “You aren’t just going to be dealing with fabrics and materials, you’re going to be dealing with numbers and people, so that’s exactly what I gained from my experience as a buyer.” According to Marcela, not all fashion designers are equipped with the business acumen necessary for building a large-scale fashion brand. “A lot of brands create purely out of passion, a little bit naively,” she says. “I think passion is great but it’s not sufficient. At the end of the day fashion is business, and at the end of the day the success of the brand is measured by its ability to sell. Apart from creativity and knowledge of the industry, I think a good

Haya launched her brand Romani for A/W18

business plan and marketing plan is necessary.” Haya for instance, waited three years to launch Romani, ensuring she was prepared to debut a label that could satisfy a global demand. Her marketing plan for her launch collection involved sending international influencers some of her pieces to wear at New York Fashion Week last month, where popular Arab fashion personalities Marwa Biltagi, Karen Wazen Bakhazi and Fatima Almomen were photographed wearing her denim sets, plastic blazers, tailored blouses and feather-adorned jackets a month ahead of the brand’s official launch. “There’s no better way for the brand to be seen than on the streets during fashion weeks,” says Haya. “After these influencers wore my designs, I got a lot of messages with orders, before my website even went live.” Social media has undoubtedly elicited a turning point in the industry; it’s being used by digital-savvy designers to raise brand awareness, gain a following and make instant sales. “It has changed the world,” says Marcela. “Once you’re on it, it goes live; the exposure is immediate. This media provides brands with direct access to the consumer – they can influence them immediately,” she says.

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Passion is great but it’s not sufficient. Fashion is business, and the success of the brand is measured by its ability to sell. Marcela Danielova

And while both emerging and established fashion brands are utlising influencers for marketing purposes, Marcela points out that this strategy is far from new. “If you place your clothes on an amazing celebrity with an amazing following the whole world will know you tomorrow,” she says. “I mean, this practice of placing clothes on celebrities has always existed in the past, but it took so long for a movie to come out with Grace Kelly holding a bag, or for a magazine to come out showing pictures of an actress wearing something, so it’s a very different game today.” Although social media may provide a major boost for emerging fashion designers, Marcela explains that it can’t be used as a sole business strategy, as there are many deeper factors that go into making a brand successful. The crop of homegrown ‘Instagram brands’ that have popped up over the past few years, will not likely see success on a serious, global scale, unless they are prepared to prove they are worthy of the hype they create. “A lot of designers grow through PR and social media. But, sometimes they’re not ready to even live up to their success – their logistics, operations, quality are not in place yet,” explains Marcela. She often advises designers to bring on business partners, and even financial investors, if they’re seeking to expand and aren’t equipped themselves to meet the needs of global retailers and clients. While some new designers are going so far as to eschew the traditional fashion week seasons in favour of their own timelines, Marcela points out that designers will have to conform to traditional schedules if they’re looking to work with major global stockists. “To succeed with an international retailer you have to follow some sort of a calendar – you cannot just be random, you have to follow the retail calendar and perfect your quality and operations, otherwise the door will close,” she says. And, with the digital demands of the industry advancing daily, Marcela believes it’s important for brands to have their own selling portals online. “Every brand wants to have its own boutique or store, that’s the dream of every designer – so today, the e-commerce platform represents that flagship store, and it’s more accessible and affordable,” she says. Haya launches her own e-commerce site with worldwide

shipping this month, but says that simply selling online won’t satiate her appetite for expansion: for S/S19, she plans to have a presence in reputed bricks-and-mortar boutiques. “I want to be globally recognised, and seeing Romani in an international department store will help take my brand to another level,” she says. Haya is currently in talks with regional and international retailers, and will be showcasing future collections through a showroom at Paris Fashion Week, where she hopes to meet buyers from multi-brand retailers like Harvey Nichols and Selfridges. More designers are opting to exhibit their collections through international showrooms, as runway productions can be financially draining for up-and-coming brands. “We created 10 successful seasons in the five years that we have existed, many brands that showcased with us have gone globaland we’ve seen many success stories,” says Marcela, who champions labels like Madiyah Al Sharqi and Bouguessa, which launched at FFWD and now enjoy global success, with celebrity clients such as Vanessa Hudgens and Beyoncé. “Platforms like FFWD help with exposure, and new designers need help to put their brands out there,” says Haya. And though it may be most known for its runway productions, FFWD is currently exploring other ways to help nurture and promote regional talent, like its recent partnership with the Arab World Institute to introduce a group of Middle Eastern brands to Parisian trade show, Les Nouveaux Createurs. “The needs of the designers are slowly changing and reaching another level as they are evolving,” says Marcela. The fashion industry is in a state of flux, and as new innovations and retail concepts emerge, a platform that facilitates relationships between designers and buyers, introduces brands to stylists, produces exhibitions and hosts pop-ups will continue to be invaluable for a growing class of new-gen brands, who may march to their own tunes but could benefit from the mentorship provided by seasoned professionals. Marcela and Haya agree that a fashion label has to be more than an outlet of creative expression. Building a business takes a great deal of planning, patience and funding if the end-goal is brand awareness – not to mention sales – on a global scale.

ONES TO WATCH GERMANIER From afar, the embellishments on Germanier’s debut A/W18 garments appear to be dashes of disco-inspired glitter, but they’re actually recycled beads, which designer Kevin Germanier came across in Hong Kong. While studying fashion at London’s Central Saint Martins, Germanier won the EcoChic Design Award for sustainability, and was given the opportunity to work for six months in Hong Kong. There, he observed a whole load of colourful beads being thrown away and decided to salvage them, returning to London with almost 100 kilograms of beads in tow. A year after graduating from the prestigious design school, Germanier has proven not only his knack for creating statement partywear, he’s also come through on his promise to incorporate sustainability into his eponymous label, by way of these colourful beads, which are cleverly integrated into his collection. They adorn architectural blazers, mesh tops, pleated skirts, jeans, t-shirts and even bicycle shorts, and have landed exclusively at luxury online retailer, Matches Fashion. Celebrities as well as retailers are taking notice of Germanier’s innovative approach to luxury; Icelandic singer Björk chose one of his creations for her Utopia album campaign. The designer sets a new global standard for upcycled fashion, using what was on its way to becoming trash, as a way to liven up sculptural garments. Throw in some metal hairclips adorned with cascading crystal strands and boxy, vintageinspired bags with the brand’s signature spray of colourful beads and it becomes clear Germanier has more than a few tricks up his sleeve. Matchesfashion.com GERMANIER

MARIAM AL SIBAI

MARIAM AL SIBAI One may not expect a millennial fashion designer to create an entire collection inspired by a single silhouette. But that’s the move Syrian-British designer Mariam Al Sibai decided to make when she launched an A/W18 collection centred purely on blanket coats, offering up classic styles in trending shades like mustard and powder blue. “It’s a piece that can be thrown on top of virtually everything, and it is both aesthetically pleasing and functional,” says the designer. “I love designing pieces that I know will have longevity in the wardrobe and can be worn mostly during the autumn/winter months. Often, you spend most of your time in outerwear, so I wanted to create something that would fulfill every woman’s desire to stay beautiful even when wrapped up,” she says. Mariam studied fashion design at the Fashion Institute of Design and Merchandising in Los Angeles before launching her namesake label last year. And while she produces suit-inspired separates as well, outerwear is Mariam’s calling. “I believe outerwear offers investment pieces. They last you for years to come,” she explains. Her new season range features blanket coats in stand-out shades of mustard, red and powder blue, along with black and hazel. “I think for me, the oversized fit of my coats is quite a daring silhouette. Bringing back the blanket coat and the blanket coat series is indicative of a timeless silhouette specific to my brand,” says the designer, who takes a markedly artistic and inclusive approach in marketing her label. Look book and campaign imagery features diverse models, monotone styling and an eclectic, yet tasteful, array of props. “We try to focus on our product and welcome all ages and ethnicities,” she says. And while snow is yet to fall on the East Coast, Arab influencers such Alaa Balkhy and Marwa Biltage put their stamps of approval on Mariam’s new collection when they opted for her blanket coats as part of their New York Fashion Week ensembles last month. Winter is coming, and you can expect Mariam Al Sibai’s colourful blanket coats to be it-girl staples for the season. Mariamalsibai.com

62 STAUD Sometimes, all it takes is one successful product to make a global name for yourself – at least, that’s the case with Los Angeles fashion label Staud, founded by Sarah Staudinger. The label’s popular ‘Shirley’ bag was the it-bag of summer 2018, featuring a tote silhouette and plastic exterior with a leather pouch enclosed, and available with worldwide shipping via fashion e-tailer Shopbop. The design quickly sold out after being heralded a street style hit, before being restocked in a number of different colourways and croc-embossed cowhide leathers. Though she hasn’t been formally trained in fashion, Sarah has a background in media studies and is the former fashion director at ecofriendly label Reformation. After receiving funding, Staud enjoyed significant room for expansion, now offering direct e-commerce sales through its website and opening up a second showroom in New York. Championed by fashion personalities like Alexa Chung and Leandra Medine Cohen, Staud is a millennial fashion trove providing a fresh and colourful approach to style. Best known for its bags, the label’s ready-to-wear pieces are equally as covetable. Case in point: a citrine faux patent leather jacket, affixed with a faux fur collar for A/W18. Rose quartz, lilac, citrine and periwinkle are the label’s go-to shades this season, and garment cuts are vintage-inspired. Cropped corduroy flares in bright emerald, a ribbed blue turtleneck with exaggerated bell-sleeves and a fitted black charmeuse dress with feather-trimmed straps offer a youthful spin on LA luxury. LES RÊVERIES

Staud is putting a spotlight on cool-girl clothing this season, proving this label is far more than just a handbag brand. Shopbop.com

LES RÊVERIES Luxe, silk-satin materials splashed with cottage-inspired floral prints, slashed with rebellious, thigh-high slits are the elements that make this season’s must-have maxi dress, as envisioned by New York label Les Rêveries, which just landed on Net-a-Porter as part of the platform’s mentorship program, The Vanguard. The brand name translates to ‘the musings’ – a fitting name to describe the dreamy, yet down-to-earth garments available in the label’s A/W18 collection. Headed by sisters Ai Ly and Wayne Lee, Les Rêveries provides a wearable offering of designs for women seeking to fuse their creative, expressive personalities with poise and practicality. Who would expect anything less, from co-founders equipped with degrees in English literature and fashion design, and passions for music, art and poetry? The duo also has buying experience at Barneys New York, plus design experience working for established labels such as Ralph Lauren and Donna Karan. With a host of turtlenecks in sorbet shades, whimsical floral dresses, slogan hoodies and ruffled slip dresses that are optimal for layering, Les Rêveries has all the makings of an it-label, appealing to both those who seek the cool-factor of Balenciaga and the romance of Erdem. The label’s strength is its versatility, with garments that appear seasonless, are easily layered for autumn and can be taken from day to night with the addition of a few jewels. Oversized cotton hoodies emblazoned with the French words, ‘l’amore l’emporte’ (meaning ‘love wins out’) and t-shirts stamped with the word ‘rêveuse’ (meaning ‘dreamy’) will be hits among the new generation of fashion consumers, who have recently taken to flaunting feminist slogans and catchy wordplays on their clothing. Net-a-porter.com

STAUD

BODICE STUDIO Emerging as the winning brand of the 2017/2018 International Woolmark Prize from the Indian subcontinent and Middle East region, New Delhi-based label Bodice Studio wasted no time in going global. The 30-year-old designer behind the brand, Ruchika Sachdeva, has partnered with Boutique 1 exclusively in the Middle East, where her A/W18 collection drops this month. After studying at the London College of Fashion, Ruchika moved back home to India and saw a gap in the clothing market – much of Indian fashion is loud, bright and heavily embellished, and Ruchika sought a quieter approach to elegance. The designer travelled across India to meet with different artisans, looking for a new way to present traditional handloom and embroidery. “I found a third generation weaving facility in the Himalayan foothills, and there I worked with weavers on introducing random geometric design elements into fine handwoven cloth.” she explains. “I also worked with women embroiderers on a stitching technique traditionally used to recycle old saris into auspicious quilts for newborns. We incorporated this recycling technique as surface ornamentation on cropped bomber jackets and dresses.” Versatile, graceful and easy to wear, the brand’s A/W18 collection may be influenced by elements of Indian heritage, but the result is far from ethnic. Sport-inspired colour blocking and striking box pleats feature heavily in blouses, culottes, dresses and jackets from the range. Ruchika says she created the special binding technique for the pleats herself. “I love pleats as they allow me to introduce graceful movement and three-dimensional detailing into my designs whilst retaining the clean, structured silhouette Bodice Studio is known for.” At Boutique 1

NANUSHKA

NANUSHKA Autumn/winter fashion week marked Budapest designer Sandra Sandor’s New York debut earlier this year. A palette of striking reds, deep oxbloods and crisp whites, with pops of bubblegum pink and monochrome polka dots set an optimistic introduction for the designer, who graduated from London College of Fashion and launched her label more than a decade ago, but has recently turned her focus toward international expansion. Launching regionally at The Modist this season, the label serves up style for the strong, confident woman who seeks out structural silhouettes with subtle, romantic details. “Sandra effortlessly blends an androgynous point of view with feminine colours and vintage flair, always with a very bleeding edge cool, but yet subtle hand, so it appeals to a broad variety of women who want something a bit interesting, but not over the top,” says Sasha Sarokin, fashion and buying director at The Modist. White silk jacquard joggers and an A-line denim skirt are easily autumn wardrobe staples, but the highlight of Sandra’s new collection is a button-down shirt crafted from red Vegan leather, modelled after the classic denim shirt. A quilted puffer jacket in in her collection is also created from vegan leather, and stamped with a luxe, croc-effect finishing. “We love that they use vegan leather. It’s something that we’re seeing more and more of, it feels perfectly on trend but conscientious and responsible as well,” says Sasha. “Beyond that, Nanushka has really made a statement for cool menswear fabrics that are reinterpreted for women, such as BODICE STUDIO

canvases, heavy twills and linens that speak to several different customers globally.” Themodist.com

MOJEH INTERVIEW

THE GENERATION GAME Three women, one fashion dynasty – with friends including Kanye West, ‘family’ including Karl Lagerfeld, and a legacy including the now 10-year-old Peekaboo. Meet the Fendis: fashion’s most extraordinary ordinary family

Words by Emily Cronin

Words: Emily Cronin / The Telegraph Magazine / The Interview People

From left: Leonetta, Silvia and Delfina Fendi

Matriarch Silvia is celebrating the 10th anniversary of the Fendi Peekaboo through the eyes of her daughters

irst, they’ll tell you that what surprises people most about their family is its normalcy. Then, the Fendi women will recount childhood memories so removed from standard nostalgic fare as to seem otherworldly. Delfina Delettrez Fendi recalls sitting on Karl Lagerfeld’s lap and enjoying “a perfect view on to his drawing” as a young girl. For Leonetta Fendi, Delfina’s younger sister, the moment that confirmed her status as a fashion insider arrived earlier, one day after her birth, to be precise, when Karl was inspired to dash off a portrait of the newborn. “He tells me I look the same now, that I haven’t changed one bit,” she says, smiling. “He was amazed by her. She was very beautiful. Was,” laughs Silvia Venturini Fendi, creative director for accessories, menswear and childrenswear – and Delfina and Leonetta’s mother. “I met him when I was five years old,” she says of Karl, who has designed womenswear for the house that bears her family name since 1965. “In a lot of ways Karl is family. Here is the kind of magical place where these values are very strong.” The specific magical place on this blazing, blue-sky afternoon is Silvia’s Rome studio-office, tucked behind one of the arches of the building Romans call the Colosseo Quadrato – the monumental, marble-clad, Fascist-era edifice turned Fendi HQ that looms over the city. Here, in a sprawling space with ample room for a king-sized leather sofa and a trio of logoemblazoned aeroplane seats, the Fendi women interact with a playful, teasing ease that transmutes any old anecdote into a three-woman storytelling relay. Each inhabits a distinct and complementary role in the family and business. Delfina, 30, is the olive-skinned, soigné jewellery designer, whose eponymous brand is stocked at

Matches Fashion and Dover Street Market. A mother of three, including baby twin boys, she turns menswear-for-women into a tempting prospect (today’s ensemble: a buttoned-tothe-top, short-sleeved shirt that clashes appealingly with a devil-printed skort from Fendi’s autumn/winter collection) and draws inspiration for her jewellery from every area of her life. “So many of my pieces were born just by playing with my kids and observing toys,’ she says. One recent creation – a diamond hoop earring that ‘zips’ closed with a sliding pearl – also functions as a wand for bubbles. “It really works,” she says, as she hooks it into her right earlobe. Leonetta, 21, a Botticelli beauty in a pixie cut, frayed-denim miniskirt, oversized Adidas t-shirt and earloads of chunky, mismatched Fendi earrings, recently graduated from SOAS, the University of London’s School of Oriental and African Studies, with a degree in politics and development studies. She’d like to go back for her master’s degree, either in migration studies or business – but what she’s really looking for is a way to merge her activist instincts with the family business. “Fashion has often been left outside of politics because it’s been considered more frivolous and female,” she says. “Yet it can have a lot of influence and bring about positive change.” It says a lot about Silvia that even daughters as seemingly independent as these look to her as a source of inspiration and validation. Both women regard their mother, the warm yet analytical blonde, with respect. But then they have generations of precedent, Fendi having been a matriarchy ever since Adele Casagrande, Silvia’s grandmother, founded the house in Rome in 1918. She renamed it Fendi after marrying

Leonetta demonstrates the youthful appeal the Peekaboo still possesses

Edoardo Fendi in 1925 and the couple passed it down to their five daughters: Paola, Franca, Carla, Alda and Anna, Silvia’s mother. The sisters’ association with the family business was so close that the Italian government granted them the unusual right to pass down the maternal surname. “I was born into a family where being a woman was a plus, so I had a privileged point of view,” Silvia says. “It’s when we go outside of our comfort zone that we understand that being a woman like that, it’s not easy. I never felt this in my professional life because the company was based on this formula – where women were bosses – but I had more problems in my private life, because I felt like a woman who didn’t need anything from anyone.” All her children (along with Delfina and Leonetta, there’s Giulio, a 28-year-old son) saw was a mother committed to her craft. “They know well that everything you get, you have through your work,” she says. “Almost every day I used to go to my mother’s studio after school,” Delfina adds. “Yes, at the time it was very close to the house,” Silvia says. “It was a big, big, building with big, big corridors, and they used to come in the afternoon and play with the spinning chairs.” “Do you remember the day you gifted us the dog?” Delfina asks. ‘You told us to turn the chair around and there was our

first dog. Going to your studio in my school uniform felt, to me, like flying to New York or somewhere amazing. It really nourished the creative side of me.” Naturally, even amid the warmth and mutual admiration there are chaotic moments. Micro-conflicts. Shouting. “We are three strong and opinionated women,” Leonetta says with an Italianate shrug. “So, yes, we clash.” “Sometimes we argue because we both want her [Silvia’s] attention,” says Delfina. “Or her clothes,” adds Leonetta. “There is one very big problem,” Silvia says, wielding an authoritative index finger. “We all have the same shoe size and the same height. Now, thank God, I have a bit of weight on, so they cannot steal everything. But still, they steal everything.” And since Leonetta moves between Rome, London and Brussels, sometimes she can’t even remember where she’s left her spoils. The situation is only set to become more complex now that Delfina’s 11-year-old daughter, Emma, is getting in on the intergenerational pilfering act. But Silvia is nothing if not eagle-eyed. She nods in Leonetta’s direction. “I notice how you are looking at the crocodile Peekaboo in my closet.” “You have a crocodile Peekaboo?” asks Delfina. “Only a little one,” says Silvia. “You can’t have it!” And the Fendi women laugh. You get the feeling that momentarily irritating though these borrowing habits may be, Silvia enjoys the fact that her daughters covet the pieces she owns – which are also often pieces she created. In fact, this informal exchange of luxury goods gave rise to Fendi’s latest digital campaign. To celebrate the 10th anniversary of the Peekaboo – the structured, ladylike handbag that remains one of Silvia’s most enduring and versatile creations, carried by everyone from the Duchess of Sussex to Rihanna – the fashion house introduced the Me And My Peekaboo project. “I was thinking about a bag that appeals to me, and to her, and to her,” Silvia says, nodding toward her daughters. “It’s something that is really not attached to a group of people, but is a beautiful object that different generations can wear.” Delfina nods. “The Peekaboo to me is like jewellery, because it can be passed down through generations. It can last; it can travel.” Illustrating the design’s heirloom potential is a multigenerational cohort of style stars. A video, released as part of the project, depicts Kris Jenner, Kim Kardashian and North West frolicking in a Malibu meadow, each toting her own Peekaboo bag. Subsequent installments feature other family groups: Hong Kong-based mother and daughter Kam Fung and musician Joey Yung; musician Dou Jiayuan and her mother, photographer Gao Yuan; and Clara and Esther McGregor, Ewan’s daughters. But it’s the Kardashians with whom Silvia feels the clearest affinity. “They remind me a bit of my family – the strong matriarch, the children, the little children, and private and public life all mixed up. I like that,” she says. “They are

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The Peekaboo to me is like jewellery, because it can be passed down through generations. It can last; it can travel Delfina Delettrez Fendi

definitely strong women, for sure, and that’s interesting.” They’ve also proven themselves unparalleled fashion influencers – a photo of Kylie Jenner pushing infant daughter Stormi in a customised Fendi pram while wearing a Fendi bodycon dress and bumbag has racked up more than 9.5 million likes on Instagram. It’s one of the factors credited this summer with pushing Fendi to number eight on the list of the world’s top 10 most-coveted fashion labels, up from number 17 the previous quarter, according to the Lyst Index, compiled by global fashion search platform Lyst. “I know that [the Kardashians] are controversial. They can be. But I also like the fact that Kim went and used her influence, for instance, to see Mr Trump for justice, for a good cause,” Silvia says. “And then there’s a link with Kanye, who is a good friend.” In 2009, Kanye, along with Virgil Abloh, now the Louis Vuitton menswear designer, undertook a sixmonth internship with Fendi. “I think he [Kanye] learned how professional the fashion world is, and how big the commitment is. Sometimes from the outside you cannot perceive it. It’s like music: everything seems so easy and so light, but there is a lot of work. “I remember he was here, but at the same time doing his own things. So flying to a concert in Los Angeles and being back here to work two days after. He was seriously committed.” She attended his first fashion show and admires his streetwear-influenced Yeezy line. “It’s very fitting to him.” Pre-Kylie, pre-Kim and pre-Kanye, of course, came the Baguette bag, introduced in 1996, when Delfina was just beginning to become aware of fashion. “I was so attracted to this bag, but I wasn’t the right age to wear it,” she says, shaking her head. “The first Baguette she [Silvia] let me steal was the denim one. We kind of made this compromise that OK, you can wear it because it’s denim, so it looks right for your age.” When Fendi had the foresight to loan a few Baguettes to an up-and-coming TV show called Sex and the City, an it-bag was born. The slim shoulder bag, in a seemingly infinite range of finishes, became the smash that brought LVMH courting

Delfina’s signature style is elegant yet edgy

(the luxury conglomerate acquired Fendi in 2001). The Peekaboo, meanwhile, introduced in 2008, marked a step change from its predecessor. “It really went against the Baguette, in a way,” Silvia says. “I said, let’s go back to something very classic, something made of leather, something ladylike.” She expands: “There is not a recipe for having a successful bag. There are so many factors – also luck, and the fact that it has to be the right bag for the right moment... [But] if you don’t follow the trend of the moment, maybe it’s easier to come out with something more personal, more respected.” After the Peekaboo’s 10th anniversary, we can’t help but wonder what Silvia is planning for her next great handbag hit. Any hints of what that might look like? “No pressure!” she laughs. “Well, everything is becoming more compact – we need less. So probably a small bag, or something integrated into a garment.” She takes a beat to reconsider. “Of course, it is difficult for me to just give this tip to readers. Maybe I can write in a closed letter and you will see in a few years, ‘Oh, she was right.’” Her daughters proceed to exchange a look and a nod, as if wordlessly saying, “What crocodile Peekaboo? I’ll race you to borrow that.”

FASHION IN FOCUS

LANVIN

2 6 FULL OF ZEST Shine bright in bold shades of mustard, amber and bumblebee yellow realised in sophisticated styles, tactile textures and statement accessories that pack a colourful punch.

4 5 Compiled by Kimberley Dyer

PETER PILOTTO

6 SHEâ&#x20AC;&#x2122;S A RAINBOW High energy pieces, saturated with multiple colours, bring summer dressing into winter. Add a shimmer of sequins and a sparkle of glitter to make rainbow colours shine even brighter. 1. MARSKINRYYPPY at THE MODIST | 2. MARY KATRANTZOU at MATCHES FASHION | 3. GUCCI AT SHOPBOP | 4. CHRISTIAN DIOR | 5. ROXANNE ASSOULIN at MODA OPERANDI | 6. ASHISH at MATCHES FASHION | 7. MIRA MIKATI

TOM FORD

EIGHTIES RELOADED Revamped shoulder pads, neon leopard print and reworked bleached denim scream fashion’s loudest era. Borderline bad taste, wear it with attitude to survive.

PHILOSOPHY DI LORENZO SERAFINI

HEAVY METAL

Molten metal fabrics are big news this season. Strike gold in a pair of high-waisted trousers

with â&#x20AC;&#x2122;80s allure, or sport metallic accessories that fuse vintage with futuristic. 1. PRADA | 2. MM6 MAISON MARGIELA at NET-A-PORTER | 3. SAINT LAURENT at NET-A-PORTER | 4. MIU MIU at OUNASS | 5. VANDA JACINTHO at THE MODIST | 6. ISABEL MARANT at BOUTIQUE 1 | 7. ALBERTA FERRETTI at FARFETCH

3 4

MOJEH WOMEN

ALL EYES ON AIYSHA Saudi-British actress Aiysha Hart talks to Hafsa Lodi about using her identity to help change the mainstream narrative

Photography by Stephanie Galea Styling by Michael Miller

Earring, DOLCE & GABBANA

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I think just by being an Arab in the industry that I’m in, I am probably debunking a few stereotypes. Aiysha Hart

rab actresses are something of a novelty in the mainstream film industry. In fact, aside from the few that experiment with Indie movies, or fill temporary, minority roles in television shows, there are hardly any at all that make it into films worthy of the theatre. British-Saudi actress Aiysha Hart, however, has fought the odds, cementing herself as a successful young actress and a name to take seriously. With her captivating Khaleeji features, charming English demeanor and enviably sophisticated personal style, the 28-year-old actress already has an impressive portfolio of diverse acting roles under her belt, and in her latest project, she is cast alongside Keira Knightley in the period drama Colette, which premiered last month at the Toronto International Film Festival. Set in Paris at the turn of the 20th century, the film tells the historical story of Sidonie-Gabrielle Colette, a writer who publishes her work under her husband’s name, and then struggles to gain her own recognition and independence. “It’s a wonderful protofeminist story about female greatness,” says Aiysha. Though Keira plays the lead role of Colette, Aiysha’s role is equally inspiring, and vital to the revolutionary plight and fight against patriarchy explored in the film. “I play French-Algerian actress, Polaire, who was the first person to embody Colette’s most famous literary character, Claudine, on stage,” she explains. Though Polaire started out as a singer and dancer in the early 1890s, she received her big theatre break with the role of Claudine, became an instant celebrity and went on to act in films. “Polaire defied convention and built a name for herself in spite of the adversity she faced as both a woman and a foreigner – her fearlessness and tenacity is what really attracted me to her character.” It’s a storyline which, on an abstract level, bears some resemblance to Aiysha’s own journey to achieving her dreams. Born in London, the family relocated back to Saudi Arabia when she was three years old, before

moving back again when she was six. Like many Arab fathers, hers didn’t initially envision a profession in the arts for his daughter. “I think my dad had always hoped I would take a more stable path and go into business or law,” she offers knowingly. “I’ve loved acting for as long as I can remember, but I genuinely didn’t believe it could materialise into a reality – probably because there was no one who looked like me on screen or in the media.” She nonetheless persevered, and after studying English literature at university, enrolled at a drama school when she was 22. “Towards the end of my course I heard about this film called Honour, which was casting for the role of a Muslim female lead. Unaware at the time of how bold a move it was, I called the casting director’s office and asked if I could audition,” she says. Just a few weeks later, she was officially cast in the film, marking the start of her professional acting journey. A traditional career wouldn’t cut it for Aiysha, who saw acting as an opportune outlet for both artistic experimentation and self-discovery. “I think I decided to pursue a career in acting because of my constant need to explore the complexities of the human experience,” she says. “I wanted to work to understand more about life and myself; perhaps that desire is somewhat rooted in my experience of growing up with a hyphenated identity.” With her half-Saudi heritage, Aiysha believes that she can use the spotlight to help westerners view Middle Eastern women from a fresh, new perspective. “I think that just by being an Arab in the industry that I’m in, I am probably debunking a few stereotypes about women from the Middle East,” she says. “I hope that my work can contribute to challenging common misconceptions about women from the region.” She points out that Arabs, particularly Middle Eastern women, have a lot to offer in terms of dynamic stories. “I’d love to see female-driven stories about ancient Arab matriarchal civilisations, or modern narratives about female entrepreneurs and activists. There’s an

Jacket, shirt and trousers, ALEXANDER MCQUEEN

Coat, SHARON WAUCHOB | Top, belt and shoes, NINA RICCI

â&#x20AC;&#x153;

In the mainstream media, Arab women are mostly portrayed as being weak and docile. Aiysha Hart

Dress and earrings, LOUIS VUITTON

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We’re still nowhere near where we should be in the push for diversity. There needs to be more front-and-centre roles for people of colour.

Photography and creative direction: Stephanie Galea. Styling: Michael Miller at Stella Creative Artists. Make-up: Sogol Razi. Hair: Brady Lea Stella Creative Artists. Photographer’s assistant: Caylee Hankins

Aiysha Hart

amazing and supportive community of women from the Arab world who are making paths into this industry as actors, writers, directors, filmmakers and musicians. Together, I believe we can change preconceptions, offering a much more multifaceted view of Arab and Muslim women.” While Aiysha could have easily become pigeonholed, being cast for just Muslim or Arab roles, her acting portfolio is a testament to her versatility. Over the course of two years, she played the regal Princess Ariadne in the BBC television series Atlantis, and starred in the crime series Line of Duty. This year sees the release not only of Colette, but also the series A Discovery of Witches, where she plays vampire Miriam Shephard, alongside Matthew Goode and Teresa Palmer. “The joy and fulfillment I get from acting is in the many different women I get to embody. I like being challenged by complex characters that are layered and go on an emotional journey,” she explains. Character complexity and heartfelt passion were obvious themes in Honour, where she played the character Mona, a British-Muslim girl who plans to run away with her boyfriend, provoking her traditional family to hire a bounty hunter to kill her in order to save the family’s honour. “It was an emotionally and physically challenging part to play,” she says, noting that she saw the film as an opportunity to raise awareness of a real-life issue that still plagues some South Asian communities – “I recognised the importance of educating people about the topic of honour killing, as well as giving a voice to the many women and girls who have had theirs violently taken from them,” she shares. And while she may have been cast partly because of her mixed-race background and ability to portray a Muslim character, Aiysha found the role fulfilling on a deeper level, explaining that, from an acting perspective, she found an emotional connection with the character of

Mona. “I was drawn to the journey of her character as she transitions from a vulnerable girl into a resilient, fearless woman through a series of very difficult and traumatic events.” With idealistic ambitions, the actress hopes that films will start representing Muslim and Middle Eastern women in different ways, straying from the typical narrative where they are often depicted as oppressed and voiceless. “In the mainstream media, Arab women are mostly portrayed as being weak and docile. On screen, they often exist on the periphery, only in relation to men and commonly within the context of war. I hope we can start to challenge these perceptions and present Arab women as complex beings and as agents of tangible change,” she says. Aiysha points out that this lack of accurate representation in films isn’t just a problem related to Arabs, but is faced by many different minority ethnic groups. Lead roles are still largely given to Caucasian actors who conform to certain, western standards of beauty, while actors of other ethnicities find themselves relegated to playing less substantial roles, often tied directly to the colour of their skin. “We’re still nowhere near where we should be in the push for diversity, particularly in the UK where the very few lead roles involving minorities usually present a storyline centred on some aspect of their racial identity,” she explains. “There needs to be more front-and-centre roles for people of colour, not just small side parts that fill diversity quotas.” At a pivotal moment when both diversity and gender equality are being championed worldwide – not least in Saudi Arabia, where women’s rights are changing every day – the time is ripe for Aiysha to take the film industry by storm. And now that cinemas in the Kingdom are back in business, it will only be a matter of time until we her face grace the big screen in the country of her heritage.

MOJEH WOMEN

WOMEN’S TALES Saudi director and writer Haifaa Al-Mansour on working with Miu Miu, giving voices to women in the workplace and marking milestones for her country Words by Hafsa Lodi

young girl with mousy hair and pink Miu Miu eye glasses beats on a tambourine while her mother sings a celebratory Arabic song at a wedding. This is one of the opening scenes of The Wedding Singer’s Daughter – an eight-and-a-half minute short film commissioned by Miu Miu, and written and directed by celebrated Saudi filmmaker, Haifaa Al-Mansour. The film, which stars Saudi singer Rotana, is part of the Italian fashion brand’s Women’s Tales series, and it premiered at the Venice Film Festival last month. The project brief from Miu Miu was to investigate the theme of vanity and femininity in the 21st century. Haifaa’s film

follows the story of a traditional Saudi wedding in 1980s Riyadh, where events are customarily segregated: women arrive cloaked in abayas, but once inside, shed their veils for the festivities, only to put them back on once the groom’s party arrives at the end of the night. In the film, the wedding singer is interrupted when, halfway through her song, she loses power on her mic vocals. Her daughter ultimately saves the day, spotting and securing the disconnected plug only seconds before the bride and groom are about to enter the venue. But while the film may have a happy ending, viewers can’t help but feel a pang of emotion when the young girl overhears her peers at a nearby table, declaring that

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I don’t want to portray women as victims and complain about situations; I want to portray them as successful and victorious.

Photography: Getty Images; Brigitte Lacombe

Haifaa Al-Mansour

since her mother is a singer, they both will surely go to hell. “We had a lot of conservative ideologies circulating in the ’80s and they used to be against the arts,” explains Haifaa over the phone from her Los Angeles home. “When I was a child at home in Saudi we’d watch movies and listen to music, and when I would go to school and tell the other girls I listened to music, they’d say, ‘Oh, you’ll go to hell and something bad will happen to your soul,’ and all that, to scare me. I’m very grateful that I had a home to go to where I could freely listen to music and watch movies, and I think Arab women who take up art as profession, regardless of how society views them are amazing, because it takes a lot of courage and belief in yourself to stand up to the conservative way, and that is why we need to respect them,” she says. Haifaa has first-hand experience with battling ultratraditional mindsets, and growing up in a small town in Saudi Arabia, where movie theatres were banned and where there were little opportunities for women in the workplace, made working in the film industry seemingly impossible. “As a child growing up in Saudi, I remember my father used to bring a lot of videos on VHS from the store, and we would watch mainstream American films, Bollywood films, Chinese films. Seeing those mountains of colour made me love the world – it gave me the sense of how big and beautiful the world was,” she says. “I never thought I’d be a filmmaker until I finished college and I started working. As a young person, I just wanted to have a voice.” After completing high school in Saudi, Haifaa studied literature at The American University in Cairo, and then returned to Saudi, where she met her future husband, an American diplomat. They moved to Australia, where Haifaa earned her master’s degree in directing and film studies at The University of Sydney. Though filmmaking gave Haifaa an outlet for her own creative expression, through her films, she highlights issues relating to traditional gender roles and helps build a platform for underrepresented voices. Her 2012 film, Wadjda, marked a number of milestones – it was the first feature length film shot entirely in Saudi Arabia, the first feature film by a Saudi female director, and the Kingdom’s first submission to the Oscars. It tells the story of a 10-year-old girl living in Riyadh, who wants a bicycle so that she can race her male friend Abdullah. Her parents, fearful of what society will think if they see a young girl in public on a bicycle, refuse to buy her one. When Wadjda sees that her school is hosting a Qu’ran reciting competition with a cash prize, she decides to take matters into her own hands to raise the funds for the bicycle.

“I’m passionate about giving voices to women, I don’t want to portray women as victims and complain about situations; I want to portray them as successful and victorious women, who can succeed, and have passion for life,” explains Haifaa. Her next film, Mary Shelley, starred Elle Fanning as a teenage girl who has an affair with poet Percy Shelley, defies her father and stepmother by marrying him, and goes on to write the famous gothic novel, Frankenstein. Haifaa tells us that this film, which was her English language directorial debut, was a turning point in her career. “When I started researching Mary Shelley and saw she was dismissed because of her gender and age I thought that was very similar to where we are now, and not just in the Arab world, but in general, in the entire world,” she explains. “Leadership positions are dominated by males, and it is sometimes challenging for women to break into certain professions.”

Haifaa joined A-list actresses in a Me Too march at Cannes Film Festival

Saudi pop singer Rotana Tarabzouni stars as the main character in The Wedding Singer’s Daughter

While Haifaa’s own heritage lends her a fair share of experience with fighting gender inequality, Hollywood too, is facing its own implosion, with women speaking out against issues like sexual harassment and inequal pay. This solidarity between women, who come together to support one another, is the vehicle for change, according to Haifaa. At the 71st annual Cannes Film Festival earlier this year, the filmmaker took part in a protest on the red carpet in partnership with 50/50 by 2020, an organisation fighting equal gender representation in Hollywood. “It was amazing, just to be standing with actresses like Cate Blanchett and Kristen Stewart,” says Haifaa. “This idea that men are more capable so they have more star power and get double for work, that narrative has been dismissed. We see a lot of female actresses and directors succeeding now. We need to have equal opportunities and equal pay for sure, but also things that we might take for granted – we want a safe environment without harassment, that’s a minimum safety requirement for women.” Given her Middle Eastern background, one might assume Haifaa may have to fight harder for opportunities in Hollywood, but she doesn’t feel her Saudi identity works as a disadvantage. “I definitely think white women might get better opportunities – it’s easier for them, for sure – but I think there is interest in voices like mine now, and it’s an interesting time

in Hollywood. There’s a pause, and people are rethinking.” In fact, people back home are also rethinking societal norms. In addition to legally allowing women to drive earlier this year, Saudi Arabia lifted its 35-year ban on movie theatres. “This makes producing films back home a lot easier for me,” says Haifaa, who, while filming Wadjda, could only have limited public interaction with her male crew, and often had to direct scenes in the streets from an enclosed van, via a walkie-talkie. “People were very reluctant to embrace me because it was seen as a profession that was not for women, but now the climate has changed a lot,” she says. Haifaa hopes these changes signify a growing appreciation for the arts and entertainment, and will help open up more job opportunities for women. “In the Gulf region in general it has been difficult. People are conservative; they don’t want their daughters going into the arts,” she says. “It is amazing to diversify the jobs and give women the opportunity to be financially independent. They don’t have to be only teachers and doctors anymore, there are so many professions and they can choose what they enjoy.” Haifaa says that often, movies portraying Arabs barely scratch the surface of the actual character. “Some movies are like business cards – there’s no real introduction to who we are,” she says. “I think it’s very important to make films from the Middle East because people need to understand who we are,

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Arabs are full of humour and enjoy food and dancing, and people don’t see that because we’re shy, and conservative and reserved. Haifaa Al-Mansour

what kind of food we like, and what we enjoy – Arabs are full of humour and enjoy food and dancing, and people don’t see that because we’re shy and conservative and reserved.” Her fashion film for Miu Miu, The Wedding Singer’s Daughter, was set at a wedding, because Haifaa says it’s one of the few places where you really get a sense of a woman’s character in Saudi public life. “Culturally, weddings and schools, and sometimes shopping malls, are the few places where you see women in bigger societies, otherwise they’re only in their home. Saudi is still a very fragmented place,” she explains. Naturally, fashion plays a big role throughout the film, not only because it was commissioned by Miu Miu, but also because of the importance of fashion in the life of Arab women. “I think fashion, especially in the Middle East, gives a woman her essence of individuality, it’s a place where she can be herself,” she explains. “There are a lot of things women can’t do, but they can experiment with fashion, I think that is why it is so empowering in the Gulf region.” The first scene of the film features a host of dazzling Miu Miu shoes worn underneath abayas, and for the majority of the film, the women are inside the wedding hall, flaunting their stylish dresses and voluminous hairdos. “When you see a completely veiled woman you don’t relate to her, you don’t see her, and I think we need to give hearts to these women, and we need people to see them unveiled, dancing and enjoying food. I think humanising Arab women is very important. They are just like regular girls.” Haifaa’s decision to narrate the film through the eyes of the singer’s daughter, was a calculated one, as it pulls on the heartstrings of viewers. “It’s is more touching to see the film from a kid’s perspective – when we’re older we’re jaded,” she says. “As a kid it hurts, this discovery she makes, to try and understand and make sense of what is happening around her.” When asked if she perhaps saw a bit of herself in the wedding singer’s daughter, Haifaa’s response is unexpected. “A little bit,” she says. “She’s actually my daughter [in real life], and she was the heart of the film.” As she shatters glass ceilings and inspires Arab women around the world to consider newfound opportunities in the arts, it should really come as no surprise that the filmmaker would start at home, with her eight-yearold daughter.

Above: A still from The Wedding Singer’s Daughter – cast members were dressed in current season Miu Miu. Below: Haifaa’s own eight-year-old daughter stars alongside Saudi singer Rotana in the film, which form’s part of the Miu Miu Women’s Tales campaign

Photography: Lima Qummosanni

MOJEH WOMEN

At just 18, Taleedah represents the Saudi face of international fashion

modelling a new movement Branded Saudiâ&#x20AC;&#x2122;s first supermodel, Taleedah Tamer is conquering catwalks and couture shoots while living the teenage dream

Words by Hafsa Lodi

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I haven’t faced any prejudice from within the industry. Everyone is very supportive and positive. Taleedah Tamer

aleedah Tamer: not only is it a catchy instance of alliteration, it’s also the name of the young up-and-coming half-Arab model who made worldwide headlines when she became the first model of Saudi heritage to walk a major couture show this summer, just a month after the Kingdom announced one of its most highly-awaited reformations of all time: that women would now be permitted to have driving licenses. Shortly after her catwalk debut at Antonio Grimaldi’s winter 2018 haute couture show, images of Taleedah decked out in an all-white, caped power suit, complete with punky gold jewellery and a belt resembling the hands of a skeleton, went viral. She is now heralded as the Saudi face of international fashion, along with serving as a glorified symbol of rebellion, reformation and female empowerment. “I never planned to be the first Saudi model, however being given that title means a lot to me and I believe it is a very important change and step in the right direction,” says the 18-year-old model, who didn’t anticipate the fame (and personal Wikipedia page) that would come after being booked for just one international runway show. Taleedah was born in Jeddah, where she spent the entirety of her childhood, and while she has just left the Kingdom to begin her university studies in Milan, she was by no means escaping a restrictive or despondent life in the Middle East. “I was very happy living in Jeddah,” she says. “I was aware of certain differences between growing up in Saudi and growing up abroad, but I never perceived it as a negative thing.” In fact, Taleedah was able to kick-start her modelling experience within the Kingdom as a participant in local fashion shows, though they came without the finesse of international runway productions and were far from public spectacles. “They are quite different as they are done in a private setting,” she explains. Her first modelling contracts were with Karloff Jewellery and Saudi Arabia’s leading luxury department store Rubaiyat, and her big break and corresponding ‘supermodel’ status came when she landed the job with Antonio Grimaldi at Paris Couture Week earlier this year. The designer has long been creating glamorous pieces for his clients in the Gulf, and he first came across Taleedah when she was just 10 years old, during one of his trips to Saudi Arabia.

Not only did this gig mark her international catwalk debut, but she was also chosen by Antonio to open the show. Taleedah says that the experience was beyond memorable, and that she appreciated the opportunity not just for the fame it brought, but for the actual fashion that was shown, and corresponding message behind it. “The concept was also so empowering, as Antonio was trying to showcase the power and strength of a woman, while also showcasing the more delicate and gentle part,” she explains. Taleedah also shot a campaign with the brand, set among sand dunes and featuring Antonio’s spectacular couture pieces. Amid a rocky, mountainous background, handsome stallions and subtle bedouin touches, she models the off-white and jewel-toned gowns with effortless ease. Beauty and modelling after all, run in Taleedah’s blood – her mother, Cristina Tamer, is a former Italian-Greek model who worked with brands like Giorgio Armani and La Perla, and her father, Ayman Tamer, is chairman of beauty and pharmaceuticals company, Tamer Group. But unlike the rest of her generation’s dependency on the digital realm for makeshift Instagram modelling, Taleedah’s appreciation for the craft runs deeper than mere smartphone screens. She treasures the notion of the physical, tangible photograph and traditional portfolio book, rather than obsessing over an endless feed of over-edited and filtered photos, and says that modelling in fact stemmed from her passion for art and photography. “Since I was a kid, I’ve always loved and admired my mum’s modelling pictures and hoped that one day, I would have pictures of my own.” Nonetheless, the young model realises the importance of Instagram as somewhat of a digital portfolio for creatives in the industry today, and she takes to posting daily photos on the app. “Social media has grown a lot and has become a big part of our society. It helps in getting certain jobs and projects because it gives you exposure.” On her own Instagram page, snapshots from her travels are woven in with photos of her high-end shoots, casual outfit posts and the occasional mirror-selfie one would expect of any 18-year-old. Lounging on her bed, curled up on her couch, stretching by the beach or perched on a boat, Taleedah is often

Taleedah feels we are heading into a new era of acceptance for both Saudi Arabia and global fashion

dressed in denim shorts, strappy slip dresses and bralettes, deviating from the dress code norms that may be expected of a Saudi-bred teen. But although she may bare more skin than your typical Saudi, Taleedah says she’s had the constant support of her family and friends as she explores her modelling venture. “I have not had any negative feedback; they are actually motivating me and pushing me, which I think is very important.” Though she is being branded Saudi’s first supermodel, Taleedah shouldn’t be mistaken for your typical Saudi woman. Opportunities have been made abundant to her largely due to the open-mindedness of her close support system, and the European influences from her mother’s side of the family. While the young model is proud of her Arab identity, she’s equally impassioned about her Italian heritage, smoothly opting for “Milano” rather than the colloquial English pronunciation of the city, when she speaks about her plans to study in Italy. Characteristic of creatives in her generation, Taleedah will be multitasking this season as she begins her independent life abroad. “I’ll be attending university while doing modelling at the same time. I would like to continue in the industry and become a model and businesswoman in my own right.”

In 2016, fashion critics and professionals were questioning the rise of a new type of supermodel, referencing the Hadids and the Jenners who used social media to further their careers. Now, as 2018 nears its end, a different type of supermodel is being championed, pioneered by faces like Muslim-American model Halima Aden, who created a storm when she first walked the runway for Max Mara with her hijab last year. While Islamophobic and anti-Arab sentiments may plague politics, in fashion, the Middle East is being embraced. “I haven’t faced any prejudice from within the industry, everyone is very supportive and positive,” says Taleedah, who believes the transformative movements within both Saudi Arabia and in the international fashion industry are inspiring a new era of acceptance in both worlds. “I think the changes occurring in Saudi at the moment might encourage and motivate individuals to try and explore the modelling profession, and I also believe that in time Arab beauty will be expressed and shown more in the fashion industry,” she says. Speaking with the ambiguity of a teenager, Taleedah has no concrete plan or end-goal and is still uncertain where her journey will take her. “I can’t say where I will be, but I can say where I wish to be,” she says. “I honestly hope that no matter what I am doing, that I am happy and that I love what I do.”

TALKING POINT

Words by Sophie Bew

AVANT-GARDE FASHION IN THE FACE OF DIGITAL DEMOCRACY

Thom Browne shows his penchant for proportions that defy all human resemblance

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In the wake of contemporary casualisation, what space is there for the avante-garde? An increasingly large one it would seem.

Tufted tulle and embroidered jackets at Thom Browne A/W18

The essence of avant-garde at Comme des Garçons A/W18

ashion is in flux. While the barriers between fantasy and reality shift daily in a world of Internet-led expression and digital democracy, the role of fashion inevitably continues to warp. On one hand, you have mega brands like Burberry and Mulberry shifting their production schedule in order that their catwalks resemble the shop floors in real time, capitalising on that Instagram hype at its peak; stalwart labels meanwhile hold on to the elegant pace of the traditional regime with steadfast grip. Tom Ford, who toyed with the see-now-buy-now concept in 2017, promptly ditched the idea after one season. On the other, you have underground labels – Palace, Supreme, Vetements, Gosha Rubchinskiy – releasing small batch offerings, available in-person only and inspiring snaking queues of fans outside pop-up shops, waiting for an ‘IRL’ shopping experience. This latter trend has set in motion quite the revolution, with luxury brands like Louis Vuitton joining forces with Supreme on limited edition lines and has left haute fashion houses unable to resist the lure of cult sportswear and logo t-shirts. Riccardo Tisci’s premier collection for Burberry last month summarised just this duality in the industry: the Givenchy alumni catered for two worlds – the Savile Row business suit-wearing conservative, complete with cinched trench coat, or the streetwear-clad skater, kitted out in sweat suits, low-slung board shorts, and logo emblazoned socks. So in the wake of contemporary casualisation, what space is there now for the avant-garde? The stuff of fashion’s history books: the intelligentsia, the Gallianos, McQueens and Margielas of the world that would have inspired Tisci, Ford et al? Well, an increasingly large one it would seem. Take Thom Browne. His sculptural oeuvre spans a finale of a giant mesh unicorn helmed by two men, melted fat suits worn with ballerinas’ pointe shoes, tufted tulle blazers that render the wearer a human pom pom, embroidered jackets that cascade into an enormous party popper string skirt, Cubist-look make-up that distorts the face into clown-like shapes – proportions that defy all human resemblance. Yet earlier this summer his brand sold an 85 per cent stake to Italian tailoring empire the Ermenegildo Zegna Group, hiking the brand’s value up to an astonishing Dhs1.8 billion. And much like the new Burberry formula, it’s this tailoring element that holds one key to the label’s success as, for every bombastic art piece Thom sends down

Yohji Yamamoto continues to challenge established silhouettes

the runway, there’s a suit. Said suit may be oversized – we’re talking two, three times human size, or perhaps just with giant muscled sleeves. They may come with tiny shorts or appear shrunken entirely, but many, many iterations are simply slim-fit and cropped and beloved by the fashion crowd, both male and female. The signature suit is a bestseller for the brand and a significant contributor to the year-on-year profit growth that enticed Ermenegildo Zegna in the first place. However, Zegna doesn’t need to break the tailoring customer base – suiting is the label’s bread and butter. Rather, it was Thom’s connection to youth that attracted the storied house. At the time of the announcement, Zegna described Thom Browne as appealing to consumers with a “millennial mindset”, explaining that its sports collaborations, like its partnership with FC Barcelona, was “one of the reasons they bought Thom Browne,” describing Thom as “the master of fun casualisation.” This partnership

will see Thom as the “official provider of the team’s off-field tailored fits and formalwear uniforms,” noted the press release, with subsequent pictures showing those ubiquitous shrunken suits, complete with socks decorated with the brand’s tricolour label. Subverted suiting for sports stars – it’s not an unlikely combination given that, on sites like Ssense and in-store at Dover Street Market, suits are styled with Thom Browne hoodies and sweatpants, each bearing the trademark stripe. Thom’s deft intertwining of these fashion tiers – suiting, sportswear, avant-garde – is a recipe for success and one can’t ignore the value of hitting all three markets. Clearly it’s the ‘fun’, the outre, that elevates these staples into star status. This high-low blend is served no less confidently than at Comme des Garçons. Launched in Tokyo by Rei Kawakubo in 1969, the label was responsible for obliterating established ideas of dressing in 1981 and, arriving on the Paris scene together with her then partner and fellow

Hussein Chalayanâ&#x20AC;&#x2122;s emotive catwalks have led to a London Design Medal this year

“

Photography: Yohji Yamamoto on previous page by Elise Toide. GoRunway

What’s apparent is the success of diversity. As a brand, you need to listen – to stay open and inclusive.

avant-garde designer Yohji Yamamoto, the pair transformed fashion for good. Those were the days of bourgeois glamour – everything caramel coloured and boulder-shouldered, worn with glossy hair and even glossier handbags. It’s no wonder then that mime-like black-and-white pantsuits, sack silhouettes, ragged hems, flat jazz shoes, paste-white faces and cloud-like puffs of frizzy hair all served to shock the fashion crowd of the time. Fast-forward more than 35 years and countless game-changing silhouettes – from gingham-clad hunchbacks to foil baubles with legs or hoop dresses worn vertically like a halo around the body – and Rei’s legacy has been firmly immortalised, most recently in the 2017 exhibition, Art of the In-between, at New York’s Metropolitan Museum of Art . The red carpet gala opening event was an entertaining lesson in celebrity-meets-avantgarde fashion, as A-listers grappled with the concept of Rei’s lens. By now, Rei is a certified artist in her field. Wild commercial success and six retail sites ensued (the first, Dover Street Market London, was followed by stores bearing the same name in Ginza, New York, Singapore, Beijing and Los Angeles) and this July saw the Tokyo label launch the 18th brand on its roster. And this particular launch may well be one of its most revealing. While the brand earns its haute points from theatrical catwalks and progressive approaches to dressing (a vast and loyal fanbase subscribes wholeheartedly to the Rei Kawakubo doctrine too), the Play, Shirt and t-shirt lines with Filip Pągowski’s iconic cartoon heart design undoubtedly rake in a killing for the label, allowing Rei to invest in younger designers like Junya Watanabe and Noir Kei Ninomiya. CDG is the name of the latest to join the ranks, made up of what Rei refers to as “Comme des Garçons’ iconic designs” comprising t-shirts, trainers, bomber jackets, caps, sweatshirts and beanies. The logo riffs on skate wear typography – tapping that sleazecore trend that hails from Venice Beach, LA – and the website is the first ever to be designed by Rei: the cult product floats about the page, begging to be caught. With 80 per cent of sales expected to be made online (three hub sites to be precise: Tokyo, serving Japan and Asia; London, serving EU, Africa,

Middle East, Russia; New York, serving the Americas), the remaining 20 per cent of product will be drip-fed into the bricks-and-mortar stores across the world. Tapping into the voracious consumption of Rei’s digital audience, the result is a micro-managed yet global approach, as well as proof, as if it were needed, of the success of street-inspired clothing. And with the rapacious reception of youth-oriented, sports-inspired brands like Martine Rose and Gosha Rubchinskiy – both stocked at Dover Street Market and the latter also owned by Comme, as the label is often affectionately referred to – Rei clearly has a thumb in each pie, from haute to cult; each element complementing the other in its diversity. But there’s one genre she won’t touch, as her partner and Comme’s president Adrian Joffe explained at the time of the CDG launch: athleisure. “The one thing she doesn’t like is camping clothing — you know, walking-outdoors fashion? The most boring fashion for her is this,” he said. “I have looked to see if there is anything interesting here and I have not found it,” Rei added. Rei’s partner in anti-establishment crime, Yohji Yamamoto, displays a similar shift with the recent launch of his own one-stop digital shop – The Shop Yohji Yamamoto. The site is set to house each of Yohji’s franchises, not including his sportswear collaborations (Yohji was the first to embrace sneakers on the catwalk via his collaboration with Adidas, opening the floodgates to a world of designersports brand partnerships that continues today). Yet it’s not just a reach towards the Internet that conceptual designers are turning to: only three years ago Chalayan opened its first ever store in London’s Mayfair, after 21 years in the industry. This year sees the designer himself, Hussein Chalayan, awarded the London Design Medal in honour of his thought-provoking body of work. As the avant-garde fashion world steams ahead commercially, forging new pathways in both the digital and bricks-and-mortar worlds, what’s apparent is the success of diversity. As a brand, you need to listen, to stay open and inclusive – then one can continue to push boundaries far beyond expectation.

FLECKS OF GOLD Set your season alight with sumptuous fabrics and plush prints scattered with emblems of winter

Photographed by Rocio Ramos Styled by Cristina Perez-Hernando

Black jacket in printed cotton, trousers in oxidised gold leather, fingerless gloves in pink leather, earrings in metal and glass beads and necklace in metal, resin and strass, CHANEL

OPPOSITE PAGE: Multicoloured dress in printed crepe and georgette long necklace in metal, resin, glass beads and strass, CHANEL THIS PAGE: Black wool coat, black sleeveless coat in crackled leather and wool, bracelets in metal, leather, strass and glass beads, earrings in metal, glass beads and strass and clutch bag in brown resin embellished with strass, CHANEL

THIS PAGE: Top, trousers, gloves and boots in oxidised gold leather, coat in brown and green tweed, necklaces and earrings in metal, glass beads, resin and strass, CHANEL OPPOSITE PAGE: White blouse in cotton poplin, jacket in multicoloured tweed, trousers in oxidised gold leather, iridescent tights in polyamide and elastane, black brogues in patent leather, long necklaces in metal, resin, glass beads and strass and brooch in metal, resin and strass, CHANEL

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OPPOSITE PAGE: Black lace dress and earrings in metal, glass beads and strass, CHANEL THIS PAGE: Black wool coat, black sleeveless coat in crackled leather and wool, white blouse in cotton poplin, iridescent tights in polyamide and elastane, black brogues in patent leather, and earrings in metal, glass beads and resin, CHANEL

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Jacket and dress in multicoloured tweed, fingerless gloves in oxidised gold leather and earrings in metal, glass beads and resin, CHANEL

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OPPOSITE PAGE: Black jacket and skirt in iridescent cotton tweed, iridescent tights in polyamide and elastane, cuffs and earrings in metal, leather, glass beads and resin, CHANEL THIS PAGE: Lilac and grey scarf in polyamide and viscose, grey coat in embroidered cashmere, iridescent tights in polyamide and elastane, black brogues in patent leather and bracelet in metal, resin, glass beads and strass, CHANEL Model: Saara Sihvonen at Sight Management Make-up artist: Jose Belmonte at Cool Hair stylist: Manu Fernandez at Cool Digital technician: Javier Torrente Photography assistant: Jorge Galindo Local production: Lighthouse Photo Agency Brand manager: Kelly Baldwin/MOJEH Production

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BRIGHTER D

Capture the spirit of the season in feminine prints, glistening embellishment and ethereal fabrics

Photographed by Amanda Pratt Styled by Julie Brooke Williams

FROM LEFT: Thais wears dress, socks and boots, CHLOÃ&#x2030; | Dress (worn underneath), PACO RABANNE. Catriona wears dress and necklace, ALEXANDER MCQUEEN

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Catriona and Thais wear dresses, PRADA | Earrings, BINC BODY BAUBLES | Ring, KONSTANTINO

Dress, DRIES VAN NOTEN | Hat, SENSI STUDIO | Shoes, JIL SANDER | Earrings, MARY MACGILL | Rings, KONSTANTINO

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Dress, MARY KATRANTZOU | Jumper, LANVIN | Earrings, BINC BODY BAUBLES | Ring, KONSTANTINO

Dress, OSCAR DE LA RENTA | Earrings, JOANNA LAURA CONSTANTINE

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Catriona and Thais wear dresses, boots and hat, CALVIN KLEIN

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Thais and Catriona wear dresses, JUNYA WATANABE | Earrings, JOANNA LAURA CONSTANTINE

Dress and jacket, GUCCI | Bracelet and rings, KONSTANTINO

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Dress, LOEWE | Shoes, BOTTEGA VENETA | Rings, MARY MACGILL | Earrings, BINC BODY BAUBLES Models: Thais Borges at Wilhelmina Catriona Frean at Muse Art director: Katy Small Make-up artist: Mark Edio at See Management Hair stylist: John Ruidant at See Management Photography and styling assistants: Kallie Biersach, Fidel Garcia-Reichman, Kasandra Torres Casting and local production: Jean Jarvis at Area 1202 Brand manager: Kelly Baldwin/MOJEH Production

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SONIC BOOM ! THE SOUND ISSUE FEATURING The Loss of Silence | Bhutan | Electric Supercars | Dabiz Munoz | Selfie Culture

NÂ°12 2018

SUBSCRIBE TO MOJEH MEN MAGAZINE HAVE THE VERY BEST IN STYLE DELIVERED DIRECTLY TO YOU. Call or email us at +971 4 553 9049 and subs@mojeh.com

Photography: Cartier. Words: Annie Darling

JEWELLERY EDIT

THE CONTEMPORARY CLASSIC Bold and unexpected, a slimmer and more flexible version of Cartierâ&#x20AC;&#x2122;s renowned Juste un Clou bracelet has been unveiled. The time-honoured piece, which elegantly wraps around the wrist in a distinct single motion, marked a turning point in jewellery design because of its sheer simplicity when it was first introduced in the 1970s. Cartierâ&#x20AC;&#x2122;s latest version is available in yellow and pink gold, and is best worn stacked alongside the same style in different colours, or with a minimal timepiece.

124 HAPPY HOUR The new Heure H Double Jeu by Hermès is a standout timepiece, featuring an innovative use of diamonds, which are vertically and horizontally set on either white or black lacquered models in steel. Driven by a Swiss-made quartz movement, each piece comes with an interchangeable leather strap.

Ballon Bleu de Cartier, CARTIER

MODERN MACHINERY One of the world’s premier online luxury fashion destinations, Net-a-Porter, has launched a permanent offering of Cartier watches, which marks the latest enhancement to the e-commerce site’s ever-expanding Fine Jewellery & Watch Suite, which is set to become the ultimate online destination for exceptional timepieces. Four iconic collections will be on offer, including The Panthère, Tank, Ballon Bleu and Baignoire, all of which embody the historic maison’s distinctive design aesthetic. The decision to host the brand was made following unprecedented success of Cartier pop-ups for the relaunch of the Panthère line on Net-a-Porter and the Santos

Heure H Double Jeu, HERMÈS

line on Mr Porter. What are you waiting for? At Net-a-porter.com

BREAK THE RULES Watches are blurring boundaries with classic models that embrace genderless style

Classima 10226, BAUME & MERCIER

Aquaracer Ladies, TAG HEUER

Opéra, SAINT HONORÉ

Reverso Classic, JAEGER-LECOULTRE

Photography: Tina Patni. Styling: Stuart Robertson

INTO THE BLACK The iconic Code Coco timepiece by Chanel has undergone a style revamp and now comes in black ceramic with or without a diamond-set bezel. Having previously unveiled a version in stainless steel, the elegant model seamlessly blends watch and jewellery design with a bracelet structure and diamond detail. And, of course, its square-gridded bracelet recalls the signature quilted design of Coco Chanelâ&#x20AC;&#x2122;s handbags. Magnifique!

126 TWO-TONE One of many versions of Louis Vuitton’s Tambour watch, which marked the beginnings of the brand’s watchmaking endeavours in 2002, the timepiece is now available in two-tone black PVD and pink gold. Exceptionally elegant, All Black and Gold is entirely matte black from dial to strap.

ONE WITH NATURE New pieces have been added to Monica Vinader’s spectacular Riva collection, including cocktail earrings, rings, delicate cuffs and effortlessly elegant studs in both sterling silver and 18-karat rose gold vermeil. Adapting a new ‘waterfall’ silhouette, fluid pieces depict icicles and flowing waterfalls, making wearable luxury as effortless as it is beautiful. At Boutique 1

BO Creoles Gigi Hoop Earrings, MESSIKA by GIGI HADID

SOUL AND INSPIRATION Gigi Hadid and Valérie Messika have collaborated once more, revealing a second collection called My Soul. The new line reflects both Gigi and Valérie’s strong personalities, and the result is ultra-desirable. Chokers, wrist and ankle bracelets in gold are set with diamonds that settle over the skin elegantly, thanks to fluid chains and light colour. Youthful, playful, and seductive, it’s certainly a collection to covet. At Messika, The Dubai Mall

Photography: Tina Patni. Styling: Stuart Robertson

COUTURE COLLECTION Dior’s Grand Bal timepieces, including this spectacular model with a red sun-brushed dial, faceted hour and minute hands, evokes the movement of Monsieur Dior’s decadent gown designs. “The ball gown makes you dream and must make you a dream woman,” he once said. The 36mm polished stainless steel case features a bezel decorated with a white mother-of-pearl ring, anti-reflective sapphire crystal glass and a steel crown delicately engraved with the intiails ‘CD’.

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MOJEH JEWELLERY & WATCHES

MAKING W A V E S

A new approach to jewellery design is proving to be a rich source of inspiration for women with both practical taste and purchasing power Words by Annie Darling

Dubai-based jeweller Donna Hourani

Sahhab earring, DONNA HOURANI

e’re in an age of understatement and personal expression, still firmly held in the thrall of the heritage movement. Having something personal beats having something flamboyant, and here to meet the demand for modern jewellery is an entire microgeneration of up-and-coming artisans that have the bandwidth, technique, and eye-for-detail to create custom orders at pricing that suits a lot more than just the blue-blooded elite. But you’d be wrong in thinking that these leading-edge creatives are anything but luxurious. Annoushka Ducas, for example, who runs her own eponymous label from London’s fashionable Chelsea neighbourhood, exclusively designs her jewellery using 18-karat gold and precious stones. Annoushka has sustained a successful career in the jewellery industry for over two decades, and has earned an MBE for contributions to the industry, having co-founded Links of London with her husband John Ayton in 1990. After selling the company in 2006, she created her eponymous line, Annoushka, in 2009. “I had always found a lot of traditional fine jewellery quite formal, from a design perspective but also from a cultural perspective. Everything in me wanted to counteract that,” she admits. “My entrepreneurial spirit sensed that there was something I could bring to that story. I wanted to design and make beautiful pieces that women wanted to wear, that they wanted to buy for themselves, and that would become an integral part of how they lived their daily lives.” More women than ever are working in professional capacities, and a new generation of designers are working hard to satisfy their clients’ tastes for practical pieces that are as wearable as they are beautiful. The rise of selfpurchasing women is not new, but increasingly significant thanks to their disposable income. Women control Dhs73 trillion in consumer spending, according to Gen Analytics, and many of them are choosing to splash

their hard-earned cash on luxury goods for themselves. Although traditionally gifted by men to their partners, jewellery is now just as likely to be purchased by women, whether they prefer stackable bracelets or statement earrings. “The jewellery market is always changing,” explains Annouskha. “It is interesting to see the way women are starting to change the way they wear their jewellery.” Because it’s no longer just about Tiffany, Cartier or Harry Winston. Digitally-savvy consumers peruse social media for inspiration, and they’re not afraid of taking risks with lesser-known designers. Dubai-based jeweller Donna Hourani launched her eponymous jewellery line in August 2016 after her sketches gained attention on Instagram. “The exposure you get online as a jewellery designer is on a much larger scale than back in the ’90s,” she explains. “Also, consumers are steering towards seamless and fast experiences when shopping, which in turn is driving the next revolution of businesses through the use of social media. Most of my jewellery sales have been through Instagram and online shopping.” “E-commerce is definitely changing the way that we purchase jewellery, especially fashion jewellery,” agrees Lebanese-American designer Joanna Laura Constantine, who launched her eponymous line in 2008 after graduating from Parsons School of Design in New York and interning for Donna Karan. “Photography and styling is now more specific and sophisticated, and it helps customers to visualise the piece better and learn how to style it.” Her latest collection, Tribale, features necklaces, earrings, bracelets and cuffs, which utilise powerful patterns that capture the vibrancy of nature. “I’m in the process of developing a new collection, called Sea and Sand,” she reveals. “I am also developing a demi-fine collection, which will be released in the next few months.” The emerging category of demi-fine, which hits the sweet spot between fine and high jewellery, boils down to the price of gold, and is quickly gaining momentum. The preferred mix of pure gold used in all fine and high jewellery – 18-karat gold – is more expensive than lower karat weights, such as 14-karat, 10-karat, and nine karat. Demi-fine jewellers are using the latter golds, making it less expensive for them to produce, and less expensive for us to buy; it’s convenient for emerging maisons, and more suitable for a younger clientele. And these shoppers aren’t afraid to spend tens of thousands of dirhams on this category of demi-fine. Annouskha’s two daughters, Marina and Chloe, offer her constant inspiration. “Younger buyers are much more fashion-focused when it comes to styling jewellery – mixing and matching different stones and colours, as well as layering necklaces and wearing numerous studs and hoops. Thirty years ago, the rules surrounding jewellery were much more conventional.” Plus, customisation appeals across the board. “We see a strong demand for personalised jewellery and it’s a trend I have always addressed,”

Annouskha Ducas launched her eponymous line in 2009

The Vampire’s Wife Deanna charm, ANNOUSHKA at MATCHES FASHION

Earrings, necklace and bracelet, JOANNA LAURA CONSTANTINE

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“

I wanted something that was feminine, playful and strong. I started designing pieces that I would want to wear. Jacquie Aiche

Rings, NADA G

Earrings and ring, JACQUIE AICHE

furthers Annoushka, who offered initial charms while at the helm of Links of London, and whose Chain Letters collection at Annoushka proved particularly popular. “I have always loved personalised jewellery. I think it encourages experimentation.” Unlike clothes, jewellery focuses less on literal fit and is more about suiting the wearer’s personality in a direct and abstract way. Having worked for industry giants including Vivienne Westwood, Matthew Williamson and Lulu Guinness, before launching her own namesake label in 2012, Catherine Zoraida set out to produce jewellery that was both unique and wearable. For her, one-of-a-kind pieces that evoke emotion and beauty that’s tailored specifically to an individual is one of the highlights of her daily duties. “Being able to create one-off bespoke pieces is a wonderful experience,” she explains. “So is working with clients and turning their initial idea into a piece of jewellery that they will treasure forever.” For her latest collection, called Nature Rocks, Catherine travelled to America and India to handpick the perfect gemstones that complement her superb designs. “It became very clear to me that I wanted to make luxury jewellery that was beautifully made, using ethical materials,” says Catherine, whose designs are famously worn by the Duchess of Cambridge. Many modern jewellers are working to make sure the producers of their raw materials are getting a good deal, with many having championed the fair trade movement by advocating for ethical mining practices. Catherine has introduced fairly-traded metals into her latest collections, while British-based designer Christina Oswin uses recycled gold and silver for many of her playful structures. Rachel Loren, Satya Stewart and Annah Stewart-Zafrani are the trio behind Los Angeles brand Loren Stewart, and started off upcycling vintage jewellery for their family and friends. Jacquie Aiche, meanwhile, brings hippy chic to the demi-fine category, incorporating rough-hewn gemstones and Native American turquoise relics into diamond-drenched chains and coloured stud earrings. “I’ve always been so inspired by my Middle Eastern heritage,” says Jacquie, whose Egyptian background largely carves her brand’s earthy elegance. “The bold colour choices, hammered gold, and goddess imagery of the culture will always influence my designs.” Her latest

“

It became very clear to me that I wanted to make luxury jewellery that was beautifully made, using ethical materials. Catherine Zoraida

collection, called Spirit, is defined by flashes of turquoise, lapis and sparkling diamonds. “I was working in a boutique and could never find jewellery that I was personally drawn to,” Jacquie says about her decision to enter the business. “I wanted something that was feminine, playful and strong. I started designing pieces that I would want to wear, and selling them anonymously. When I received a positive response from women, I knew this was what I was meant to do. Since then my line has truly had a life of its own.” It would seem that many of today’s designers first established themselves after finding their own preferences were not being met by established maisons. “I did my research to see if my passion could actually be translated into a business venture, so I started by identifying a market need that I was actually facing as a consumer,” says Dubaibased Lebanese businesswoman Nada Ghazal, founder of Nada G, which creates timeless fine jewellery for the modern woman. “In my research, I learned that women needed to accessorise to express themselves, and that they were looking for unique pieces that reflect individuality. The jewellery market in the region, however, was saturated with either mass production or very classical jewellery.” Nadine Hammoud and Cherine Altobaishi, the motherdaughter duo behind Dubai’s fine jewellery brand NC Rocks, also found that there was a lack of design that was contemporary and regionally-relevant. “As Saudi women today, we are empowered by the change and evolution in our country,” says Nadine, before explaining that this is depicted in the brand’s latest Armoria collection. And as more and more young jewellers draw on their own heritage during the design process, many established companies are taking note of their success. Egyptian-born Yasmin Hemmerle, who met her husband Christian, a fourth-generation member of the Hemmerle family – which founded the Munich-based jewellery house in 1983 – now travels the world sourcing gemstones. “Growing up in Cairo as an Egyptian, I felt like jewellery was in my blood,” she says. “I saw jewellery everywhere and it was imbedded in my culture – I couldn’t imagine doing anything else.” She’s already found early success, and it would seem that she’s one of a bountiful set appealing to modern women seeking to complement their trend-setting wardrobes. The fact that many of these brands are spearheaded by young women themselves, comes as a welcomed surprise.

Catherine Zoraida

Gold Delicious Lychee Pendant, CATHERINE ZORAIDA

Armoria earrings, NC ROCKS

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olour T H E O R Y

Tourmaline and opal. Emerald and spinel. Diamond and sapphire. Fresh blends make for even bolder statements

Photographed by Rui Faria Styled by Woo Lee

Earrings and bracelet, Kanaga set in white gold with spinels and diamonds, CARTIER COLORATURA HIGH JEWELLERY Coat, PHILIPPE PERISSE | Jumper, LANVIN

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Earrings and bracelet, Matsuri set in platinum with tourmalines, opals, onyx and diamonds, CARTIER COLORATURA HIGH JEWELLERY Dress, ANNE SOFIE MADSEN | Gloves, MAX MARA | Belt, SALVATORE FERRAGAMO

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Ring and earring, Matsuri set in platinum with tourmalines, opals, onyx and diamonds, CARTIER COLORATURA HIGH JEWELLERY Dress, GIVENCHY | Hat, FRANCESCO BALLESTRAZZI | Gloves, stylistâ&#x20AC;&#x2122;s own

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Bracelet-watch and ring, Orienphonie set in white gold with coral, onyx and diamonds, CARTIER COLORATURA HIGH JEWELLERY Jacket, ATTIC AND BARN | Hat, FRANCESCO BALLESTRAZZI

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THIS PAGE: Necklace, ring and earrings, Chromaphonia set in white gold with emeralds, spinels, mandarin garnets, turquoise and diamonds, CARTIER COLORATURA HIGH JEWELLERY Jacket and skirt, MAX MARA | Top, GABRIELE COLANGELO | Boots, GIA COUTURE OPPOSITE PAGE: Necklace, ring and earrings, Chromaphonia set in white gold with emeralds, spinels, mandarin garnets, turquoise and diamonds, CARTIER COLORATURA HIGH JEWELLERY Jacket, MAX MARA

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Earrings, bracelet and ring, Yoshino collection in white gold with morganites, opals, pink sapphires and diamonds, CARTIER COLORATURA HIGH JEWELLERY Coat and dress, LANVIN

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Ring and earrings, Holika collection in white gold with rubellite, blue tourmalines, chrysoberyls, spinels and diamonds, CARTIER COLORATURA HIGH JEWELLERY Dress, CARVEN | Belt, SALVATORE FERRAGAMO

Model: Alicja T at IMG Make-up artist: Tatsu Yamanaka at Marie-France Paris Hair stylist: Olivier Lebrun at Davidâ&#x20AC;&#x2122;s Artists Manicurist: Huberte Cesarion at Marie-France Photography assistants: Phil Bradley and Benoit Auguste Fashion assistants: Esperanza Teran and Claire Zaquine Casting director: Vincent at V&Y Brand manager: Kelly Baldwin/ MOJEH Production

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DIAMONDS IN THE ROUGH Fun, frivolous and fancy-free. Todayâ&#x20AC;&#x2122;s high jewellery calls for a nonchalant attitude

Photographed by Chantelle Dosser Styled by Anna Klein

THIS PAGE: Bracelet and ring, Blossom collection in white gold with onyx, tsavorite garnets and diamonds, LOUIS VUITTON HIGH JEWELLERY OPPOSITE PAGE: Ring, Blossom collection in white gold with moonstone, indigolite tourmaline and diamonds, LOUIS VUITTON HIGH JEWELLERY

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THIS PAGE (from top to bottom): Ring, Escape collection in white gold with onyx and diamonds | Ring, Acte V collection in white gold with lacquer and diamonds, LOUIS VUITTON HIGH JEWELLERY OPPOSITE PAGE: Earrings, ConquÃªte collection in white gold with tourmalines and diamonds, LOUIS VUITTON HIGH JEWELLERY

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Necklace, Acte V collection in white gold with pearls and diamonds, LOUIS VUITTON HIGH JEWELLERY

Ring, Blossom collection in white gold with moonstone, aquamarine and diamonds, LOUIS VUITTON HIGH JEWELLERY

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THIS PAGE: Earrings, Acte V collection in white gold with onyx and diamonds, LOUIS VUITTON HIGH JEWELLERY OPPOSITE PAGE: Bracelet, Acte V collection in white gold with lacquer and diamonds, LOUIS VUITTON HIGH JEWELLERY

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All jewellery, LOUIS VUITTON HIGH JEWELLERY

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THIS PAGE: Earrings, Voyage dans le temps collection in white gold with blue ceramic dust, opals and diamonds, LOUIS VUITTON HIGH JEWELLERY OPPOSITE PAGE (from left to right): Ring, Blossom collection in white gold with moonstone, indigolite tourmaline and diamonds | Ring, Blossom collection in white gold with moonstones, indigolite tourmaline and diamonds, LOUIS VUITTON HIGH JEWELLERY

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Necklace, Blossom collection in white gold with lacquer, onyx, tsavorite and garnets, LOUIS VUITTON HIGH JEWELLERY

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THIS PAGE: Earrings, ConquÃªte collection in white gold with diamonds, LOUIS VUITTON HIGH JEWELLERY OPPOSITE PAGE: Necklace, Acte V collection in white gold with pearls, onyx and diamonds, LOUIS VUITTON HIGH JEWELLERY

All clothing: Louis Vuitton autumn/winter 2018 Models: Lala Olsson at Ford, Lulu at Elite, Mary at Elite, Sabina at Oui, Judith at Premium Tanya at Premium, Claire P at Girl Make-up artist: Stephanie at Atom Management Hair stylist: Akemi Photography assistant: Chad MacDonald Brand manager: Kelly Baldwin/MOJEH Production

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SERENE SENTIMENTS Tranquility reigns in high jewellery, introducing a fresh prespective that maintains tradition with a youthful appeal

Photographed by Vivienne Balla Styled by Kelly Baldwin

Earrings: Gros Grain Saphir Rose in white gold with diamonds and pink sapphires | Bracelets (from left): Gros Grain Saphir in white gold with diamonds and sapphires, Orangie Grenat Spessartite in yellow and pink gold with a mix of precious stones and Gros Grain Saphir Rose in white gold with diamonds and pink sapphires, DIOR HIGH JEWELLERY

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Rings (from left): Ma Bague in yellow gold with diamonds and rubellite, Angelique in white gold with diamonds and emerald, Gros Grain Saphir in white gold with diamonds and sapphires and Plisse Diamant in white gold with diamonds, DIOR HIGH JEWELLERY

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THIS PAGE: Necklace: Chambre Du Roi in yellow, white and pink gold with darkened diamonds and sapphire, DIOR HIGH JEWELLERY OPPOSITE PAGE: Brooch: Milieu Du Siecle Diamant in pink gold with diamonds | Ring: Angelique in white gold with diamonds and emerald, DIOR HIGH JEWELLERY

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Earrings: Gros Grain Saphir Rose in white gold with diamonds and pink sapphires, DIOR HIGH JEWELLERY

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Rings (from left): Gros Grain Saphir in white gold with diamonds and sapphires and Gros Grain Saphir Rose in white gold with diamonds and pink sapphires, DIOR HIGH JEWELLERY

Ring: Plisse Diamant in white gold with diamonds, DIOR HIGH JEWELLERY Model: Sammy Gardner at Bareface Make-up artist: Melanie Meyer Hair stylist: Ania Poniatowska Videographer (live on MOJEH.com): Tamas Sabo Brand manager: Kelly Baldwin/MOJEH Production

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Dior epitomises femininity and elegance, so to be a part of a fashion and beauty house with such an incredibly rich history is a great honour. Jennifer Lawrence

BEAUTY EDIT

FACE OF A GENERATION

Jennifer Lawrence talks exclusively to MOJEH about her latest role as the face of Joy by Dior and life as one of Hollywood’s highest paid actress It seems that you have a great relationship with Dior. Is there something about this house that attracts and interests you? I signed on to work with Dior in 2010 and it’s been an amazing partnership. So many of my favourite dresses have come from Dior – my Oscar dress for Silver Linings Playbook, the dress I wore last year to the Mother! premiere in NY – it has been incredibly collaborative so I am thrilled to be able to expand on the relationship with Joy by Dior. Dior epitomises femininity and elegance, so to be a part of a fashion and beauty house with such an incredibly rich history is a great honour. In your opinion what are the values of the brand? The House of Dior was founded in 1947, after the second World War. Christian Dior wanted to create dresses and fragrances for women to finally smile again, so they could feel beautiful and happier after several dark years. To me, laughter, sensuality and joy of life are rooted in the House’s DNA

Photography: Courtesy of Dior

You are the face of Dior Joy – what is your earliest fragrance memory? I remember my mom always wore Miss Dior. It was the first fragrance I ever smelled and even when I smell it today, it gives me such warm memories. What is your beauty routine before a red carpet? I usually have a few friends over and take my time for big events. We listen to music, hang out and try not to stress too much. How do you keep in shape? I run, do Pilates regularly

and do yoga sometimes. I don’t have an eating plan but I try to eat healthy most of the time. When you think about an ideal image of a woman, what are some traits that come to mind? Strong, in control. There are many women who I have considered role models. In my professional life, I was very lucky to work with Jodie Foster when I was about 18. She gave me amazing advice on life and my career, and she is so incredibly grounded. So, she has been a role model. Also, friends, my mum, my family. What are you interested in these days? I have been spending time on an organisation I am a part of called Represent.Us, which is about engaging young people politically on a local level. Represent.Us is America’s largest grassroots anti-corruption campaign which brings together conservatives, progressives and everyone in between to work towards fixing thecorrupt political system. Do you have a favourite book? Have you read any that changed your life? My favourite book is Anna Karenina. I thought I wouldn’t want to finish an 800page book, but then I started slowing down and reading the same chapters over and over. You fall in love with the characters; you grow up with them. What projects do you have coming up and can you tell us about them? I have been taking some time off and it has been really nice. In terms of film projects, I’m attached to a bunch but we haven’t determined what might go next. The final X-Men will be out in February, so that’s what’s next.

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ATHLEISURE BEAUTY Athleisure has infiltrated the beauty scene. As millennials aim to make fitness a priority in an Instagram world, looking great while working out has become a necessary endeavour. Thankfully we can rely on highperformance fitness make-up and skincare lines that are specifically formulated for selfies post Barry’s Bootcamp. 1. Vivace 24/7 Every Day Hair and Body Shampoo, ROSSANO FERRETTI PARMA at NET-A-PORTER | 2. Clinique Fit Post-Workout Neutralising Face Powder, CLINIQUE at SEPHORA | 3. Clean Slate Workout Swipes, MIO SKINCARE at LOOK FANTASTIC BRANDON MAXWELL

RAF RELOADED When it was announced that Raf Simons would be taking the creative lead at Calvin Klein, the fashion world awaited his first collection with high hopes. And he certainly delivered. So hopes are again high in anticipation of his first fragrance for the American fashion house. Created in partnership with Raf, perfumers Annick Menardo and Honorine Blanc say they “wanted to offer [Raf] the scent of a truly modern woman – a woman driven by an evolving self-knowledge.” With contrasting notes of orange flower petals and eucalyptus acorns, the perfume is created for the contemporary Calvin Klein woman, as imagined by Raf. “This scent lets you create a version of yourself that is free of assumptions, allowing you to be more yourself than ever before,” say the perfumers. To champion the campaign, Raf enlisted actresses Lupita Nyong’o and Saoirse Ronan, both known for taking on intriguing character roles and strong female leads. With inspiring spokespeople and values rooted in integrity, this is a fragrance we can all get behind.

Calvin Klein Women, CALVIN KLEIN

BEAUTY HEAVYWEIGHTS MOJEH rounds up the latest product launches from the beauty industry’s top players

The V-Line Lifting and V-Shape Filling ranges, VALMONT COSMETICS

WRINKLES BE GONE In the never-ending quest for youthful skin, anti-ageing products are key in our nightly beauty rituals. Swiss-made Valmont Cosmetics has newly introduced not one but two new complementary collections, that can be used separately or combined to combat the signs of ageing. The V-Line Lifting line revitalises skin by fighting wrinkles whist the V-Shape Filling line firms and tones. Each range is comprised of a cream, serum and eye treatment and utilises vitamin C and a peptide cocktail to help restore skin to its former glory. Diamond Bomb All-Over Diamond Veil highlighter, FENTY BEAUTY

FENTY BEAUTY: Rihanna celebrates the anniversary of her trailblazing cosmetics line with the launch of all-new shimmering products that leave skin shining bright like a diamond. At Sephora

Skin Caviar Luxe Cream, LA PRAIRIE

TIGHTENING AND BRIGHTENING La Prairie’s cult favourite Skin Caviar Collection gets a makeover with a revamped version of its best-selling Skin Caviar Luxe Cream. The product was first launched back in 1987 and utilised caviar extract

Easy Bake Loose Powder in Blondie, HUDA BEAUTY

to lift and firm the skin. Fast-forward 30 years and we still can’t get enough of the hero cream. Today’s formula is recharged with a new

HUDA BEAUTY: Leave it to Huda to show us how to bake like

form of caviar and an exclusive cellular complex powered by all-new

a pro. Her new Easy Bake loose powders are available in eight

biotechnological research.

shades and demystify the beauty trend. At Sephora

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MOJEH BEAUTY

Super Powders As our fascination with functional foods borders obsession, MOJEH examines the potent ingredients said to rebalance the entire body

Photography: Getty Images

Words by Laura Beaney

uper ’shrooms, ashwagandha and electric blue has been whole and raw foods for years, but it was around Brain Dust. No, it’s not Woodstock – it’s wellness. 2013 that adaptogens first popped up on my radar. I started By now, we appreciate that the health and beauty researching and incorporating them into my diet because of industries regularly celebrate ingredients with inaccessible their multifaceted cardiovascular health and oxygen efficiency names and cosmic colour codes, and their latest fixation benefits. I discovered that on a cellular level, adaptogens doesn’t disappoint – there’s a plethora of hard-to- help your body to combat stress and maintain your cells at a pronounce options listed among the adaptogenic family. properly functioning level, meaning they are able to correct First coined in 1947, the term adaptogen is a reference to both under and over-performance,” she continues. substances that, in theory, adapt their function in line with So how do they work? Adaptogens have a balancing effect the needs of the body and, as such, protect against its stressors. on something called the hypothalamic-pituitary-endocrine “Adaptogens are super herbs and super mushrooms that axis (HPA), which can be understood as a delicate dance expand the body’s capacity to handle stress – whether the between the brain and hormone system. Your brain-adrenal source is mental, physical or emotional,” explains Amanda axis, brain-thyroid (HPT) and brain-gonadal axis (HPG) Chantal Bacon, founder of Moon Juice, the cult LA business must work in harmony for the optimum function of your built on the promise of these ingredients. metabolism, immune system, energy levels and mood. Moon Juice introduces itself as the resource for When the HP axis is out of balance we start to experience ‘plant-sourced alchemy to nourish and elevate body, beauty hormone disruptions such as thyroid problems and adrenal and consciousness.’ Sealed in minimalist pastel packaging fatigue. Ongoing stress is a known trigger for these issues. with names like Power Dust and Moon “Adaptogens can help regulate the Dust, Amanda’s adaptogenic powders hypothalamic, pituitary, adrenal access, “If stress drives you transform smoothies and lattes into HPA, and sympathoadrenal systems,” bold tones of fuchsia and pistachio. But says Amanda. “If stress drives you to the to the point of ‘fight point of ‘fight or flight’, adaptogens will aside from producing Instagrammable or flight’, adaptogens beverages, they promise to balance help you stay calm and collected.” The will help you stay everything from blood sugar to the result sounds like an antidote to modern thyroid gland, as well as enhancing day living: balanced hormones, better calm and collected” office focus, addressing skin issues and sleep, boosted metabolism and PMS Amanda Chantal Bacon regulating the menstrual cycle. When symptoms kicked to the curb. But there she first launched her brand in 2011, are a couple of things to consider. First adaptogens weren’t really on our radar, reserved for the realms of all, it’s important to establish the right adaptogen for your of Ayurveda and Chinese medicine. But Amanda – armed with specific needs – not everyone needs every kind – and second, if the right nouns and adjectives – bridged the gap, catapulting taken on their own, adaptogens have a pretty pungent flavour, these ingredients into the celebrity sphere. Her brand is a so you may want to mask their taste. known favourite of Zoë Kravitz and Shailene Woodley was American ginseng is known to balance blood sugar, while photographed wielding a Moon Juice tote a few years after its reishi regulates cortisol levels and provides liver support to launch, while Goop founder Gwyneth Paltrow is an outspoken improve skin condition. Cordyceps is best suited to assisting advocate, stocking the range on her website. But is all this exercise performance as it’s an immunity booster, which also attention warranted? excels at energy production. And if there’s one adaptogen Setting themselves apart from other health foods that might that’s shot to stardom – it’s ashwagandha. Also dubbed ‘royal alleviate a specific concern, like inflammation, consider herb’ it’s one of the most popular ingredients in Ayurveda, with adaptogens as your highly intuitive and customised wellness studies showing that it can support hypothyroidism. And this strategy. “As a lifelong avid athlete, what goes in my body is just the tip of the adaptogenic offering – there’s hundreds has always been of utmost importance,” says Susie Wang, to choose from, and they come in powders, pills, droplets, co-founder of Plantioxidants, an organic skincare line loaded capsules and every form in between. But one might argue with apoptogenic formulations, such as its chaga mushroom that all this choice could be overwhelming. “I recommend and ginseng winter healing serum. “The bulk of my diet listening to your body and evolving your habits accordingly,”

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“

Adaptogenic properties help fight serious inflammation and facilitate skin healing, in addition to reducing wrinkles Susie Wang

advises Amanda. “What’s happening in your day, and what do you need to support it? Do you need a boost of power in the morning? Add protein to coffee. Are you crashing late afternoon? Beat the slump and sugar cravings by blending adaptogenic protein with milk or water for a nutrient-dense energy boost. Depending on what my body is specifically needing, I will sprinkle them into batches of raw chocolate or puddings to bring the medicine cabinet into the kitchen in a delightful way. I like to recommend taking them in the morning as part of my ritual to boost energy and set me up for the day,” she explains. Amanda likes to keep her pantry stocked with adaptogenic herbs that she blends with hot or cold nut milk as a pick-meup or meal, but this is real life, and between work and our ever-mounting to-do list, self-love can often get pushed back. We don’t always have time to bake or even blend before heading to the office but as Susie points out, incorporating adaptogens into your daily skincare regime is one of the quickest ways to introduce them into your lifestyle. “It should come as no surprise that adaptogens are hugely beneficial to one of our biggest organs – the skin,” she says. “And skincare

is an immediate way we can absorb their manifold benefits. Our formulations don’t just rely on chaga mushrooms for their high amounts of melanin – that fights and repairs sun damage – nor because of their high amounts of superoxide dismutase – that helps to reduce and repair damage from free radicals – we also use them because of their adaptogenic properties, to help to fight serious inflammation and to facilitate skin healing, in addition to reducing wrinkles,” she continues. Moon Juice’s sachets are another travel-friendly fix – you can sprinkle Spirit Dust onto your morning latte, while answering your emails in a taxi to the office. And here in the UAE, cafés including Wild And The Moon, Comptoir 102 and Super Natural Kitchen offer up beverages with adaptogenic ingredients like maca, right on your doorstep. While widely used in Eastern medicine, adaptogens are still undergoing clinical trials in the West, so it’s important to seek advice from your physician before introducing them into your diet, especially if pregnant or breastfeeding. Adaptogens can be a natural way to flourish and nourish, but don’t expect miracles over night, they involve a trial and error, a long-term commitment and a sprinkling of patience.

3 OF THE BEST

Holi Youth, AGENT NATEUR

Moon Dust sachet sampler, MOON JUICE at NET-A-PORTER

Calming Adaptogen, MOODBELI

CHASING DREAMS A whimsical recipe of cacao, peony, patchouli, lychee and Turkish rose, enhanced with ginger and bergamot, creates the sensational new fragrance from Louis Vuitton, Attrape-RĂŞves, meaning dreamcatcher, that at once captures the romance, magic and mystery we see in our dreams.

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ALL MADE UP

Headscares and heavy blush: beauty ideals to make grandma proud

Photographed by Stéphane Mounet Styled by Valérie François

Complexion: Touche Eclat Le Teint Radiance Awakening Foundation in B20 Ivory, YSL BEAUTY, Hyaluronic Hydra-Powder, BY TERRY, Couture Blush in 04, YSL BEAUTY | Eyes: Couture Eye Palette Collector in Yconic Purple, YSL BEAUTY, Mascara Volume Effet Faux Cils The Curler in 03 Violet Malicieux, YSL BEAUTY, 24-Hour Super Brow Long-Wear Pomade in Roxy Purple, KAT VON D | Lips: Dior Addict Lip Glow in 004 Coral Glow, DIOR | Jacket, CHANEL | Blouse, FÃ&#x2030;RAUD | Scarf, BURBERRY

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Complexion: Touche Eclat Le Teint Radiance Awakening Foundation in B20 Ivory, YSL BEAUTY, Baby Doll Kiss and Blush in 04 Orange Fougueux, YSL BEAUTY | Eyes: 24-Hour Super Brow Long-Wear Pomade in Magenta, KAT VON D | Lips: Phyto Lip Shine in 08 Sheer Coral, SISLEY | Suit, CHRISTIAN DIOR | Blouse, CHANEL | Bag and Earrings, VINTAGE

Complexion: Touche Eclat Le Teint Radiance Awakening Foundation in B20 Ivory, YSL BEAUTY, Baby Doll Kiss and Blush in 04 Orange Fougueux, YSL BEAUTY | Eyes: Couture Eye Palette Collector in Pop Illusion and Yconic Purple, YSL BEAUTY, Mascara Vinyl Couture in No.3 Iâ&#x20AC;&#x2122;m The Excitement, YSL BEAUTY | Lips: Dior Addict Lip Glow in 004 Coral Glow, DIOR | Dress, EMMANUELLE KHANH | Scarf, PIERRE CARDIN | Earrings and brooch, VINTAGE

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Complexion: Touche Eclat Le Teint Radiance Awakening Foundation in B20 Ivory, YSL BEAUTY, Baby Doll Kiss and Blush in 04 Orange Fougueux, YSL BEAUTY | Eyes: Couture Palette Collector Urban Escape, YSL BEAUTY, Mascara Vinyl Couture in No.3 Iâ&#x20AC;&#x2122;m The Excitement, YSL BEAUTY | Lips: Dior Addict Lip Tattoo in Natural Cherry, DIOR | Coat and hat, VINTAGE

Complexion: Touche Eclat Le Teint Radiance Awakening Foundation in B20 Ivory, YSL BEAUTY, Hyaluronic Hydra-Powder, BY TERRY, Couture Blush in 04, YSL BEAUTY | Eyes: Couture Palette in 05 Surrealist, YSL BEAUTY | Lips: Volupté Tint-In-Balm in 14 Underground Pink, YSL BEAUTY | Jacket, NINI COUTURE | Dress, PAPILLON BLANC | Earrings and brooch, VINTAGE

Art director: Agnes Duchadeau Model: Elizaveta Ilina at Crystal Model Management Make-up artist: Walter Denechere Hair stylist: Cyril Nanino at L’Atelier 68 using Sebastian Professional Retouching: Stephanie Herbin at Alimage Location: Chez Sarah, Paris, Chezsarah.net

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BEAUTY IN FOCUS

DUAL TONE EYE

Hues of cyan, rosewood, and cornflower blue provide ample beauty inspiration this autumn/winter. Match or clash colours by dusting the full lid or create a subtle nod with a smudge under the lower lashline.

1 PETER PILOTTO

ROSIE ASSOULIN

1. Narsissist Wanted Eyeshadow Palette, NARS | 2. Electropop Pro Eyeshadow Palette, KEVYN AUCOIN at NET-A-PORTER | 3. Les 4 Ombres Multi-Effect Quadra Eyeshadow in Splendeur et Audace 306, CHANEL | 4. Highliner Matte Gel Eye Crayon Eyeliner in Grapevine 63, MARC JACOBS BEAUTY | 5. Obsessions Eyeshadow Palette Precious Stones Collection in Emerald, HUDA BEAUTY | 6. SS18 Shadow Extreme Eyeshadow in Sapphire Blue, TOM FORD BEAUTY

Compiled by Kimberley Dyer

NEON POP

High impact pouts in neon shades flooded the catwalk as tiger orange and fierce fuchsia lips created a look that’s cool, contemporary and packed with attitude.

MAX MARA

MAISON MARGIELA

6 4 1. Hot Lips Lipstick in Electric Poppy, CHARLOTTE TILBURY | 2. Vernis À Lèvres Vinyl Cream Lip Stain in Rave Orange, YSL BEAUTY at OUNASS | 3. Liquid Matte Lip Lacquer in Violet Fatale, TOM FORD BEAUTY | 4. Velour Extreme Lipstick in On Point Neon Orange, LAURA MERCIER | 5. Lip Palette, ANASTASIA BEVERLY HILLS | 6. Lip Definer in Vibrant, CHANTECAILLE at NET-A-PORTER

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TRAVEL EDIT

Africaâ&#x20AC;&#x2122;s Victoria Falls is a powerful yet beautiful scene

THE SMOKE THAT THUNDERS

Mesmerising wilderness and remote luxury are among the rewards of holidaying in Zambia

Words by Annie Darling

hen British explorer David Livingstone first discovered the world’s greatest mass of falling water in 1855, he wrote in his journal: “Scenes so lovely must have been gazed upon by angels in their flight.” Africa’s world-famous Victoria Falls is an incredible 5,633 feet wide and 354 feet high; staggeringly beautiful and equally frightening, the roaring wall of water plunges into a great black gorge from the (relatively) peaceful plains above. Shared by Zambia and neighbouring Zimbabwe, it is protected within national parks and also by UNESCO, as a World Heritage Site and one of the Seven Natural Wonders of the World. Fondly named after Livingstone who, after decades spent crossing waters and battling wildlife (he survived a lion attack) sadly succumbed to malaria, the Royal Livingstone Hotel by Anantara is arguably the most exclusive and opulent way to experience Victoria Falls and its surrounding landscape. Sleepily stretched along the rugged banks of the Zambezi River, the hotel is only a 10-minute walk from the falls itself. A thrilling speedboat ride through the raging rapids drops us off at the resort’s deck, where we’re greeted by staff, who offer us welcome drinks and complimentary hand massages as we relax in plush armchairs. Victorian elegance at its finest, the Royal Livingstone pays homage to old-world Africa and a bygone era. At first glance, its structure could be mistaken for a grand estate – thanks to airy verandas and wicker plantation-style antiques, which feature hints of tribal warmth that add an authentic African touch to otherwise European furnishings. Colonnaded walkways showcase black-and-white portraits of explorers, and more than 170 luxury suites are situated in two-storey clusters that freckle the sanctuary’s sprawling property. As we’re shown to our rooms – all of which come with private terraces and river views – we’re advised to keep them locked at all times. Monkeys, we’re told, will open windows and doors in search for food. One guest, laughs the porter, came back from breakfast to an upturned suite. Several bars of chocolate she had stashed in her luggage had been stolen. On her way to reception, she came across her intruders spread out on the nearby lawn like starfish, snoring loudly, with Cadbury smeared across their cheeks. Monkeys aren’t the only animals that roam the hotel freely. Giraffes, zebras and impalas also wander the unique setting, offering up-close encounters, so be sure to have your camera ready to capture an unforgettable moment. But not to worry; while serving breakfast at The Royal Livingstone Dining Room, waiters discreetly keep an eye on unwanted visitors that might be enticed by the scrumptious smell of maple syrupdrenched pancakes and eggs Florentine.

Zebras patrolling the grounds at the Royal Livingstone Hotel by Anantara

Downtime is often animated in Zambia

A spot to gain perspective, the sun deck at the Royal Livingstone

A family of giraffes at play

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The Royal Livingstone Express steam train

Dinner can be enjoyed as the train travels to Victoria Falls Bridge

Lounging by the pool with an unbeatable backdrop

African warmth meets premium quality at the Royal Livingstone Hotel by Anantara

Professional, courteous and knowledgeable, while the staff are an absolute delight, service at mealtimes can be on the slow side, so plan accordingly and leave plenty of time for your next activity. Dinner on board the Royal Livingstone Express steam train, which travels along the old railway to Victoria Falls Bridge for sunset every Monday, Wednesday and Saturday, is highly recommended. Guests are further invited to partake in the hotel’s old-fashioned high tea, complete with Chantilly cream, at The Royal Livingstone Lounge, which boasts polished stone floors, decadent ceiling fans and brocade cushions. And the pièce de résistance? A ‘Boma’ dinner is organised every Friday and it’s an absolute must. Local tribesmen and women dressed in grass skirts and traditional headdresses host the authentic African feast, and introduce diners to local dancing and music. Expect plenty of barbecued meat and spiced dishes, which are served under the stars by a crackling bonfire. For those who dare, mopane worms are a delicious local delicacy; surprisingly tasty, they’re a staple in rural areas, often fried with tomatoes, onions and garlic. Taking its place alongside the Pyramids and the Serengeti, Victoria Falls, locally known as Mosi-oa-Tunya – meaning the smoke that thunders – is an international attraction, but the Royal Livingstone further contributes to the area’s reputation as the adrenalin centre of Africa with a roster of activities. Whitewater rafting, game drives, bungee jumps and helicopter tours can all be arranged in between sunny afternoons spent lounging by the outdoor pool or in one of the riverside gazebos. Outdoor massages can also be organised on the banks of the Zambezi River, in addition to other authentic local therapies that promote wellbeing and enhance relaxation. Carefully-crafted packages inspired by indigenous traditions are delivered by skilled therapists, many of whom are from the Livingstone area. The 90-minute Anantara Signature Massage uses signature oils to stimulate circulation and deeply relax muscles, while reflexology works to promote an overall sense of happiness. A discreet mirror is placed underneath the treatment table so that guests are able to admire the reflection of the Zambezi and its wildlife during the session, which proves to be the perfect way to recoup after a morning spent horse riding through the tranquil national park. Not long after, we apprehensively book a microlight flight for an exhilarating tour over Victoria Falls and the thundering Zambezi River. It’s impossible not to feel the sheer power and force of the seething milelong curtain of water below; despite being thousands of feet high, the light aircraft quivers and jumps as it’s sprayed by bursts of mist. From September to December, the river’s water flow isn’t at its peak,

Victoria Falls is one of the Seven Natural Wonders of the World

so the spray doesn’t obscure views of the falls as of its size and underdeveloped road networks. much and the panorama is spectacular. And then But for those who do venture here (whether they there’s the ever-present rainbows, which stand in be thrill-seekers or families) the lack of crowds makes surprising contrast to the raging plumes of mist and it an even more satisfying destination to explore. water that’s spewed into the wisps of cloud above. And with the ever-increasing popularity of This vapour reflects off the African sunlight into Victoria Falls, Livingstone has taken on the role of double, sometimes triple, rainbows, arcing from within a backpacker’s paradise over the last few years. As for us, we conclude our trip the body of the falls. with a river cruise along the Although landlocked, three “Scenes so lovely rivers – the Kafue, the Luangwa boundary off the Mosi-oa-Tunya and the Zambezi – flow through National Park. Our tour guide must have been Zambia and define its weathered meets us at the Royal Livingstone gazed upon by angels geography. Livingstone is the dock, at which we first arrived. in their flight” closest airport to Victoria Falls, Elephants, crocodiles and birdlife are all observed as which is a 25-minute drive away, David Livingstone they splash, scamper and fly and which, in turn, is a 90-minute flight from Johannesburg. There through unfenced land that’s yet are also flights from Namibia and Botswana. Not to be marked with footprints. It’s often said that only is it a fantastic base for visiting the Zambian Africa’s sunsets are the best in the world, and as side of this natural wonder, but the town of we sip drinks from the riverboat watching a family Livingstone is safe, welcoming and friendly, which of hippos playfully tease each other in the water, is ideal for the independent traveller, for whom charcoal black below a burnt orange sun, you can’t Zambia could be considered a challenge because help but think: It doesn’t get much better than this.

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MOJEH TRAVEL

THE DESTINATION Exclusive experiences in the worldâ&#x20AC;&#x2122;s cultural capitals, far-flung corners and picture perfect properties

Above: Anantara Kihavah Maldives Villas. Below: Anantara Peace Haven Tangalle

NEW PRIVATE JET JOURNEYS A major trend in luxury travel experiences, private jet travel has seen a surge in popularity in recent years with the most exclusive industry players offering oneof-a-kind itineraries for their dedicated customer base. Anantara is the most recent brand to join the roster with the launch of the Anantara Private Jet Experience, covering its own brand resorts in the Maldives, Sri Lanka and Thailand in one seamless, curated tour of the Indian Ocean. Large groups will embark a swish zones for resting, dining and working, and smaller groups of up to eight people can hop on board a Cessna Citation X with spacious cabin and fully reclining seats. Surely the only way to travel? For bookings contact Rose Ongvisit +66 81 170 5463

Words: Natascha Hawke

Gulfstream V jet complete with three cabin

The Chedi Luštica Bay

THREE TO TRY IN LONDON Be the first to indulge in the city’s hippest new eateries

ZELA LONDON, COVENT GARDEN Located at the ME London Hotel by Meliá on The Strand, and hailing from Ibiza, Zela London opens its doors to a 100-cover restaurant serving Japanese-Mediterranean cuisine by

THE CHEDI OPENS IN MONTENEGRO

acclaimed Michelin-starred chef Ricardo Sanz. Melia.com

A playground of the rich and famous, the crystal waters of Montenegro’s new Marina Village welcomes launch of The Chedi Luštica Bay. Only six hours from Dubai, direct with Flydubai to Tivat, the hotel offers understated luxury in the form of 111 elegantly-appointed rooms in true Chedi style, private beach and two waterfront restaurants. Chedilusticabay.com

Eclectic African decor at One & Only Nyungwe House

BLACKLOCK, SHOREDITCH An award-winning traditional Sunday roast, mouthwatering signature steaks and chops are sure to make Blacklock’s latest space in a Victorian warehouse off Rivington Street in East London an instant hit. Theblacklock.com

ONE & ONLY IN RWANDA The lush green of a working tea plantation is the picturesque setting for the One & Only’s newest property, Nyungwe House in southwest Rwanda. Twenty

ART YARD, BANKSIDE

three guest rooms and suites sit harmoniously in the natural surroundings with

With a focus on celebrating seasonal British produce, chef

private decks offering uninterrupted views across the wild African terrain,

Lee Streeton, formerly of Brown’s Hotel and 45 Jermyn Street

to spectacular mountains and lush rainforest, ensuring a once-in-a-lifetime

introduces a modern, all-day dining experience near Blackfriar’s

African experience. Oneandonlyresorts.com

Bridge and bustling Borough Market. Artyardbarandkitchen.com

194 The Gucci ArtWall in New York by Maurizio Cattelan

GUCCI’S SHANGHAI ART EXHIBITION The Italian fashion brand’s new Art Walls by artist artist Maurizio Cattelan in Milan, New York, London and Hong Kong showcase a portrait of the performance artist Marina Abramović promoting her upcoming exhibition, The Artist Is Present that explores the practice of appropriation in contemporary culture. Curated by Cattelan, The Artist is Present opens in Shaghai on October 11 to December 16 at the Yuz Museum Shanghai.

A beach pool villa at Velaa Private Island

MAGIC IN THE MALDIVES Foodies and beach enthusiasts unite as Velaa Private Island in the Maldives is set to celebrate its fifth anniversary this December. Among the exclusive celebrations will be a dinner held on December 20 by award-winning chef Gaushan de Silva, previously private chef to the Jordanian royal family, with live music performed by the Los Angelesbased Nova Jazz ensemble, flying in for the occasion. Velaaisland.com

Left: The Edition Barcelona, and below, the new Shanghai property

NEW EDITIONS American hotelier Ian Schrager’s latest hotels open this month in Barcelona and Shanghai. The 145-room Shanghai Edition finds it home in the Art-Deco headquarters of The Power Building on Nanjing Road, and the Barcelona property resides in the creative hub of the famed Ciutat Vella district. Editionhotels.com

CULTURE EDIT

BEACH CLUBBING October ushers in the perfect weather to take tanning, eating and partying al fresco to the regionâ&#x20AC;&#x2122;s chicest venues

The view from a beach villa at Nikki Beach Dubai

THE LABEL LOVER

NIKKI BEACH Its well-earned reputation as the leader in beach club hospitality, with 14 venues across the world including Ibiza, Bodrum, Barbados and SaintTropez, has made Nikki Beach Dubai an obvious

choice for the international jet set. Both beach club and hotel, its contemporary aesthetic of dazzling white furnishings and bohemian accents give it an air of Euro-cool, completed by the Balearic soundtrack that saturates the airwaves and creates its famous party vibe.

The ultimate way to experience Nikki chic is by checking into the hotel and immersing oneself into its laid-back pace by spending the day horizontal at the beach club listening to DJ sets,

people-watching the Insta-worthy crowd and chowing down on fresh sushi, before retreating to the intimate surroundings of a beach villa complete with private pool or the sanctuary of an intimately chic sea-view suite to watch the

1. Bag, BALENCIAGA at NET-A-PORTER | 2. Shoes, GIVENCHY at MATCHES FASHION | 3. Bikini, CALVIN KLEIN

sun go down. +971 4 376 6162

196 BURJ AL ARAB TERRACE Nothing gets more exclusive than lounging in an air-conditioned cabana, being waited on by a dedicated butler, in a seven-star hotel. With only 32 cabanas, including eight Royal, complete with bathroom, shower and veranda overlooking the sea, the Burj Al Arab Terrace is the most luxury sunbathing can get. Book a couple’s cabana for Dhs1,465, or go all-out in a Royal cabana that accomodates four people for Dhs3,612. +971 4 301 7600

Relax in seven-star luxury

SAADIYAT BEACH CLUB Abu Dhabi’s coolest beach destination, Saadiyat offers powder white sand peppered with reeds that gives it a wild aesthetic rarely seen in the region. For those who prefer the pool, luxuriate in a private cabana, listen to tunes and eat at one of four venues. Day passes start at Dhs320 on weekends. +971 2 656 3500

Cool vibes only at Saadiyat Beach Club

THE TRENDSETTER

2 Barasti-style chic at Club Mina

CLUB MINA One of Dubai’s largest beach clubs, Club Mina offers access to both Le Méridien and The Westin Dubai Mina Seyahi. With five pools and a white sand beach, couples looking to relax can book 1. Sunglasses, CHLOÉ | 2. Hat, MIU MIU at OUNASS | 3. Swimsuit, ADRIANA DEGREAS at MATCHES FASHION

private cabanas complete with waiter service. Day passes start from Dhs150 per person. +971 4 318 1420

ONE & ONLY ROYAL MIRAGE Widely considered as one of Dubai’s most exclusive beach resorts, One & Only Royal Mirage has four temperaturecontrolled swimming pools, peacefully shaded by palm trees, serviced by welcoming and knowledgable staff. For those who would prefer to take a dip in the calming waters of the Persian Gulf, the private kilometre-long beach provides a particularly rare indulgence. Serene scenes at One & Only Royal Mirage

+971 4 399 9999

SMOKIN’ PINEAPPLE Arrival by boat – the only way to get to Zaya Nurai Island – sets the tone for a truly luxe beach experience. For Dhs440 per person, hop on a bike and pedal around the island between restaurants, beach and pool, settling at Smokin’ Pineapple to listen to chillout tunes and catch some rays in complete boho style. +971 2 506 6222

Boho vibes at Zaya Nurai Island’s Smokin’ Pineapple

THE GLAMAZON

Views of the Burj Al Arab from Summersalt Beach Club

SUMMERSALT BEACH CLUB

Jumeirah’s hippest hotel is also home to one of the chicest beach clubs. Summersalt at Jumeirah Al Naseem offers world-class food inspired by Asia, a white sand beach and elegant pool, complete with live DJ set for blissed out day vibe tunes. A day pass is Dhs242 per person. +971 4 432 3232

1. Swimsuit, STELLA MCCARTNEY at MATCHES FASHION | 2. Turban, TALLER MARMO at THE MODIST | 3. Shoes, ATP ATELIER at BOUTIQUE 1

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AROUND THE WORLD GUIDED BY LV Travel is ingrained in the history of the French house, and so trust Louis Vuitton’s travel guides to help you live your best life while exploring the world’s most stylish cities. Updated with the latest information, edited by friends and journalists of the house, the new editions see actor Jeff Goldblum present his Los Angeles, artist Ding Yi explore Shanghai and photographer Françoise Hugier and Ouka Leele guide you through hidden corners of their home towns of Paris and Madrid respectively. Collectors’ items, the Louis Vuitton City Guides have both the form and function travel enthusiasts love, complemented by a digital version for iPhone and iPad that is regularly updated.

FASHION READS In the run up to the season of giving a new roster of style tomes are annually presented. Feed a fashion thirst with books that look fabulous piled high on a coffee table. Bad boy photographer Rankin’s latest portfolio, Rankin: Unfashionable: 30 years of Fashion Photography, is loaded with supermodels and unlikely subjects shot in his signature no-frills style. Richard Bernstein Starmaker: Andy Warhol’s Cover Artist includes a foreword by the legend that is Grace Jones, and Roland Mouret: Provoke, Attract, Seduce marks 20 years in fashion. All Rizzoli

Picture-perfect food presentation

WORLD-CLASS FOOD AND FLAMENCO

Photography: Kate Moss by Rankin

For a Thursday night with a bit of flair, The Lounge at Souk Al Bahar is hosting a heady concoction of authentic Flamenco dancing performed to live Spanish guitar, while serving up some of the city’s most sophisticated food. Beautifully presented fusion dishes inspired by the flavours of the Mediterranean, Asia and South America provide an impressive menu, while the dancing fountains outside, and Flamenco inside, make the venue an instant hit. Elegant, lively and with a DJ who pushes the party onwards, Thursdays will never be the same. +971 4 360 9006

Find your inner Flamenco siren at The Lounge

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Mohammad Ehsai, Untitled from the Allah series, 1975

Zena Assi, My City #6, 2011

CHRISTIE’S MIDDLE EAST ART SALE Following the success of last year’s auction, Christie’s will hold its sale of Middle Eastern Modern and Contemporary Art in London once again. This time the catalogue showcases artists representing Egypt, Iran, Lebanon and Syria with a series of works that include some never before seen from private collections. Highlights include Egyptian artist Abdel Hadi El Gazzar’s An Ear of Mud, An Ear of Paste, which is estimated to fetch between Dhs1.6 and Dhs2.2 million; Iranian artist Parviz Tanavoli’s The Wall and the Script, a metre-high bronze sculpture embellished with calligraphy, estimated at Dhs580,000 to Dhs870,000, and contemporary Lebanese artist Zena Assi’s My City #6, a colurful collage of acrylic and ink depicting her hometown of Beirut valued at Dhs9,600 to Dhs19,500. The sale will be held in London on October 24, with a free public exhibition opening on October 20

Samir Rafi, Momie Ressuscité, 1959

STREET ART IN DUBAI Marking the Opera Gallery’s 10-year anniversary, the Urban Poetry exhibition opens at DIFC bringing with it a youthful display of graffiti-inspired artworks. Sylvain Gaillard, director of Opera Gallery Dubai, explains the origins of graffiti: “A young generation of artists found that the best way to get their voices heard was to take their message to the streets or the subway. At the very core, the goal of these artists was to create something that will receive a reaction from as many people as possible...” Urban Poetry runs from October 3 to 17 at Opera Gallery DIFC

George Morton-Clark, The True Colour of Carrots

Keith Haring, Untitled, 1986

AL HUZAIFA FURNITURE

ECLECTICISM

3 6

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MOJEH CULTURE

Dina Saadi is one of a new generation of female graffiti artists in the UAE

MARKET V

Born from grassroots social movements, street art is gaining momentum worldwide. Two of the Middle Eastâ&#x20AC;&#x2122;s most talented female street artists are maintaining their creativity in a field thatâ&#x20AC;&#x2122;s becoming increasingly commercial

Words by Hafsa Lodi

Photography: Borna Ahadi

estled in a multi-storey warehouse in Al Quoz, Dina Saadi’s studio is everything you might expect from an eclectic artist’s workspace. The length of one wall is dominated by a mural depicting a black and white face bordered by vivid colours and patterns; a metal cage located behind a kilim rug houses rows of spray paints and two metallic cattle heads are propped up on the floor, waiting for their own treatments. Brightly painted lawn chairs are completed with cushions in the shape of kiwis and watermelons and punkish stickers are pasted on the back of the front door, where Dina encourages visitors to ‘tag’ themselves or leave something behind – a sticker, drawing or autograph – as an eternal reminder that they were once here. Leaving a mark of your presence is an underlying theme in much of Dina’s work, which is characterised by graphic patterns inspired by nature and pop culture, combined with faces, animals and abstract messages, all painted in a cornucopia of vivid colours. Born in Russia and raised in Syria, her art projects have taken her to countries like Jordan, Egypt, Thailand, India, Barcelona and Berlin. And wherever she travels, Dina strives to leave a part of herself behind, be it on the side of a street or a building wall. “I don’t want to just be a tourist. I feel like I need to leave something there so the community can call it their own,” she explains. “In Thailand, when I was painting a mural on a store, people came and watched, and some kids even helped me. A lot of my work when I travel is just me giving back to the community.” Dina is part of a new generation of female artists who take to public walls to unleash their conceptual creativity. And if you’ve lived in the UAE for over a decade, you’ll have noticed that along with the extra high-rises and shopping centres that have sprung up from the sand, some of the country’s public premises have been given an artistic flourish. From Dubai’s Box Park, City Walk and La Mer districts to the walls of Abu Dhabi’s airport and old buildings of Sharjah’s Bank Street, street art has found a surprising home in a country known for keeping up its otherwise pristine and spotless appearance. “There’s so much more street art in the country now, versus five years ago,” says Fatima Mohiuddin, a Dubai-born street artist who lives between the UAE and Canada. Fatima has a bachelor’s degree in fine art and culture and a master’s in sociology, and she wrote her dissertation on the social impact of public art. Her aesthetic is significantly shaped by her multicultural experience being raised as an expat in the UAE. “When I was 12, I would use my mum’s block-printed black and white bedspreads and copy the patterns onto my walls and furniture,” she recalls. “I’ve always loved blacks and whites. I think the way I draw lines sometimes refers to Arabic calligraphy or Henna, a lot of what I’ve been exposed to from living in Dubai most of my life.” A hallmark of this female street artist from the Middle East is her penchant

Dina’s art is led by vibrant colour and graphic pattern

for combining culture, heritage and pop culture references in her work. And while more walls around the UAE may be starting to depict artistic marriages of culturally-inspired icons and abstract, creative concepts, much of the work we see may simply be surface art – lacking depth or true purpose, painted solely with a commercial angle. “I would love to see it come about in a more organic way and disrupt that exterior a little bit,” says Fatima. Dina notes that street art is still somewhat of an imported mode of creativity in the UAE. “In this region, it’s very different. In other places, like New York, street art is as old as the city itself, but here, street art was introduced just recently. There is no graffiti here – graffiti is vandalism.” And painting here, according to the female artists, comes with its own difficulties. “It’s not easy to get permission, it takes time,” explains Dina. “In the UAE, street art is mainly commissioned by a brand or property developers, or it’s part of an event.” She adds that often companies fly in international street artists rather than hiring local ones, perhaps due to their

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Fatima Mohiuddin would like to see UAE street art become more organic

high social media followings and in hopes to further boost tourism. Many brands, after all, are motivated by the amount of organic promotion that a commissioned project can offer. “To be honest, a lot of developers will only invest in street art projects for the marketing mileage they get out of it, which social media massively contributes to,” explains Fatima. And while apps like Instagram have been invaluable in terms of spreading awareness for artists and their street art projects, it can feel like a numbers game. “Social media has become like a tool to measure your validation for artists, based on the wrong metrics,” says Dina. “A high following doesn’t necessarily mean the better or more successful the artist is, but I feel that’s how it’s seen in the UAE.” Because of these restrictions and limited opportunities for street artists locally, Dina and Fatima find that much of their work takes them outside of the UAE. But while globetrotting to essentially do what you love may look glamorous to an outsider, it takes hard work, dedication and a thick skin to survive as an international street artist, according to Fatima.

“It can be frustrating. If the wall has unusual textures you scrape your knuckles on them when you paint fast lines, or if lifts get stuck or don’t work, or if it keeps raining and the wall gets too wet to paint. In general it can be very tiring, and sometimes my spraying finger goes numb. Plus there is time pressure because of costs and working in public spaces. There are a lot of things that can go wrong,” she says. Dina adds that travelling alone as a woman also poses threats. “You worry about your safety, and you’re watching your back all of the time,” she says. “This is part of the challenge – it isn’t a safe environment. It’s not like you’re sitting in a studio – you’re in public, where people are walking by, either appreciating your work or not appreciating your work.” While sidewalks and buildings are the most traditional spaces for street art murals, there are a multitude of costs for street artists, ranging from travel and accommodation to materials, who tend to go uncompensated for voluntary projects. New generation artists however, are finding new outlets for their work, earning spots at galleries and exhibitions and collaborating with fashion brands to produce wearable art that flaunts their signature aesthetic. Gucci’s collaboration with 25-year-old female Spanish artist Coco Capitán is perhaps the most widely celebrated example of fashion teaming up with street art. The A/W17 garments that featured Gucci’s distinctive logo, combined with graffitistyle text, were instant hits, especially among millennial consumers. Unpolished, city-inspired street art speaks to younger buyers and brands have quickly caught onto the trend, hiring artists to customise everything from packaging to attire and even furniture. Culture and contemporary art combine in Dina’s recent fashion collaboration, where she was selected as one of five street artists worldwide to design a sneaker for Aldo. Representing Dubai, the shoe, which launched worldwide in September, encapsulates Dina’s aesthetic and visual identity while also celebrating local culture – palm leaves and Bedouin-style patterns; majlis seats are visible through the contrasting strokes and colours pictured on the footwear. “It was a bit of a challenge, because it was my first shoe design, to keep it artistically as rich as possible, but also to make it a good product. Something genderless, that people would want to wear,” she says. In addition to partnering with brands for limited time collaborations, street artists, along with photographers and artists specialising in various other mediums, are setting up their own e-shops in attempts to make their work further accessible to customers. “We’re not living in a time where artists are locked away in studios painting, hoping to be discovered by dealers and patrons,” says Fatima. “They can merchandise, they can market their own work, and with digital art you can mass produce and create infinite variables of the same artwork. There are a lot of factors at play that actually make now a great time to be an artist.” After winning

Fatima’s eclectic work led her to win the Sheikha Manal Young Designer Award

the Sheikha Manal Young Designer Award in 2010, Fatima founded The Domino – a platform that connects artists with clients. “We push for appropriate artist compensation, original work, creative freedom where possible for artists and generally to be an artist-run entity that spreads a message about the right way to work with artists,” she explains. Unfortunately, artists’ rights are sometimes overlooked by private clients and companies, who often suggest that they collaborate with a brand without any monetary compensation. “Many times the value of our work is not always clear,” says Dina. “Just because we love our work doesn’t mean we’re willing to exchange it for free, or just for exposure. You’ll have an event and pay a waiter to cater and serve, but you don’t want to pay an artist?” “They also need to consider the artist’s unique style and authenticity,” she adds. “A lot of brands just approach the artists with established works or styles and ask them to paint a horse or something with very specific guidelines, and sometimes the identity of the artist is gone by the end of

the project.” Fatima knows that with commissioned projects, there’s usually somebody else’s agenda at stake, and she tells us she enjoys being pushed out of her comfort zone when given a challenge from a client, just as long as it doesn’t compromise her style. “I avoid projects that don’t invite an artist to bring something of their own to the table,” she says. Street art has typically been a male-dominated field, with Banksy being one of the pioneers of the contemporary movement, along with French-Tunisian artist El Seed, known throughout the region as ‘The Arab World’s Banksy’. Nonetheless, neither Dina nor Fatima have felt disadvantaged by their gender, though Fatima attempts ambiguity by going with her street name, ‘Fats’. “In the past I’ve tried not to label myself as a female artist as I’d rather get work based on my portfolio than my gender. But I have come to realise that I’m inevitably a part of a discussion about female artists and an important one,” she says. “Being a woman who grew up in the Middle East, I think that’s something of particular interest to people at the moment.”

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MOJEH CULTURE

HUNGRY FOR MORE While a Dubai gallery champions Palestinian artists abroad, two new major institutions in Palestine hope to take the country’s art scene to new heights

Words by Aimee Dawson

remember my mother sitting in front of the oven is a powerful homage to the women’s homeland through while my older sisters helped her prepare the dough, the symbolic, life-giving power that is food. covering the surface with some oil and thyme sauce. This isn’t the first time the Tabari Artspace gallery in Dubai I remember all over the house the smell of the bread rising International Financial Centre has championed artists from and the whole family gathering around the table to eat the Palestine. Three of the gallery’s Palestinian artists – Hazem manakeesh, as our laughter rose to fill the space with joy.” Harb, Sliman Mansour and Mohammed Joha – teamed up This is the childhood memory that Haifa-based artist Samah for the group show El Beit in February this year, again Shihadi shares about her favourite food from home – Palestine. exploring notions of home in the light of the Palestinian For Samah, as for most of us, food plays an important part in condition. The gallery, which opened in 2003 to promote her thoughts of growing up. But when you are a Palestinian Middle Eastern modern and contemporary artists in Dubai artist, living with the realities of and internationally, was founded by occupation and the constant denial of Maliha Tabari, who is passionate about your homeland, food is more than a supporting her own Palestinian roots. nostalgic reminder of a certain place: For Samah, being able to exhibit it has a symbolic political meaning. her work in Dubai is a huge opportunity, “I was born into a family of Palestinian and Maliha initially approached her refugees who have lived in the diaspora about working with Tabari Artspace after she showed at Art Dubai in since 1948,” says the New York-based, Palestinian author, Ranya Tabari Idliby. March. She says that because Palestine “The permanence of the Palestinian is under occupation, “physically and condition, our perpetual displacement, spiritually we are facing difficulties with means that we have had to make exposing our art and culture. Therefore, homes of many houses in many places. a presence for Palestine in the UAE The table under these political and art scene is like a bridge that leads to cultural conditions becomes the anchor the rest of the world.” Palestinian artist Samah Shihadi around which families gather to build The realities of the political situation communities and celebrate memories of a Palestine lost, in Palestine have an enormously detrimental effect on the but not forgotten. Meals nourish our children with a love for everyday existence of the population – from the destruction our land and for our heritage.” of homes and buildings and a lack of basic resources such These two women will bring a taste of Palestine to Dubai as water and electricity, to the very real, constant threat to next month for the collaborative exhibition Hungry for human life. Naturally, these difficulties extend to artists, Home, on display at Tabari Artspace from November 21 until galleries and institutions based in Palestine. But Samah January 2019. Samah will show 35 intricate hyperrealist also stresses that Palestinian art “is not solely defined by the drawings of traditional Palestinian foods while Ranya – political turmoils of the region” adding that young Palestinian who is currently working on a cooking memoir of the artists “not only criticise the Israeli occupation, but same name – will provide accompanying texts. The show also criticise their own society”.

Samah Shihadiâ&#x20AC;&#x2122;s Cactus, charcoal and pencil on paper

Still Life, pencil on paper by Samah Shihadi

Untitled, pencil on paper by Samah Shihadi

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Hazem Harb is another artist working to preserve his Palestinian heritage

“

A presence for Palestine in the UAE art scene is like a bridge that leads to the rest of the world. Samah Shihadi

Nonetheless, running a contemporary gallery in Palestine is “extremely hard on so many levels,” says Samar Martha, the founder of Gallery One in Ramallah. With the historic lack of galleries in the country, artists are not used to the role that they play in the art market, she explains. Additionally, audiences are also not familiar with galleries and collectors tend to acquire work directly from artists’ studios. On top of that, the dire economic situation in Palestine means that there are a limited number of people with the purchasing power to actually collect. “A lot of work is being done on audience development and raising awareness about the gallery and its role. We are trying to encourage younger generations to start acquiring by introducing incentive schemes,” Samar says. Despite these many problems, some galleries and art spaces have established themselves over time although, due to the difficulties of infrastructure, security and financial struggles, the art institutions in the country have remained relatively small. But since 2016, two huge cultural spaces have opened in the West Bank and offer the potential to transform the art

scene there. The privately-funded Dhs90 million Palestinian Museum opened in May 2016 in Birzeit, focusing on the history and culture of Palestine from 1750 to the present day. Designed by the Dublin-based architectural firm Heneghan Peng, the museum has 3,500 square metres of exhibition and educational space and stands on a 40,000 square metre plot that is on a long-term lease from the adjoining Birzeit University. The museum has won several awards for its design and energy efficiency – an important aspect of a building that, due to occupation, has limited water and electricity resources. Although it suffered delays and was forced to open without any exhibits, the Palestinian Museum’s inaugural show Jerusalem Lives (August 2017 – January 2018) had 16,000 visitors – a number that would have previously been impossible to accommodate in any other space. Its latest show Labour of Love: New Approaches to Palestinian Embroidery, which was first on show at Beirut’s Dar El-Nimer for Arts and Culture space, has been extended until January 31 because of its popularity. It explores the handcraft’s shift from a personal activity to one of national identity and includes over 80 historical dresses and accessories. On June 28 this year – and despite months of escalating political unrest – a major new cultural foundation opened in Ramallah. The vast headquarters of the A.M. Qattan Foundation (AMQF) houses exhibition spaces, art studios, classrooms, a library, a theatre and a restaurant, as well as offices – all in an impressive cube-shaped building that, too, is both architecturally striking and environmentally friendly. Standing proud atop a valley of olive groves, the building was designed by the Seville-based architects Donaire Arquitectos to emit a low light at night, visualising the metaphor of the space as a ‘lighthouse’ for the people of Palestine. “My father said that we needed a landmark – something for people to refer to, almost as a symbol,” says Omar Al-Qattan, chairman of AMQF. The UK-registered charity was established in London by his father, the late Palestinian philanthropist Abdel Mohsin Al-Qattan, in 1993. Now, after six years of construction, two years of delays and at a cost of between Dhs55 million and Dhs66 million, that dream has become a reality.

The Palestinian Museum in Birzeit opened in 2016, without any exhibitions

The AMQF runs The Mosaic Rooms – a London space for contemporary Arab culture that is celebrating its 10th anniversary this year, as well as cultural and educational programmes in Gaza, the West Bank and Beirut, including the Gaza Child Centre and the annual Young Artist Award. The new building will allow the wide-reaching institution to centralise its activities and its team of 60 Ramallah-based staff members as well as having its own public space for the first time. As part of the programming in its new headquarters, the foundation will host free exhibitions. The first show Subcontracted Nations (June 28 – September 29) was a group exhibition of more than 60 artists and collectives, including leading regional artists such as Khaled Jarrar, Larissa Sansour and Naeem Mohaiemen. It questioned the concept of the nation state and “the stagnant political conditions in Palestine,” says Yazid Anani, the show’s curator and the foundation’s director of public programming. From October 4, as part of the Palestinian biennial Qalandiya International, the AMQF is partnering with the nearby Birzeit University Museum for its show Lydda — A Garden Disremembered, which explores the way the British imposed their own urban plans in the Palestinian city of Lydda. Building a world-class cultural institution anywhere is complex, but in Palestine it is harder still, and both the A.M. Qattan Foundation building and the Palestinian Museum have faced enormous challenges to get to this point. The construction of each building was delayed due to disputes with Israel over the importation of building materials and the ever-escalating costs that such restrictions caused. Finding skilled workers locally, who are used to the level of detail required for these kinds of buildings, was another hurdle, with many being tempted by higher salaries in Israel. Additionally, the security risks of displaying expensive works of art – never mind the complexity of transporting them across Israeli borders and checkpoints – have meant that convincing collectors and institutions to loan art or simply

The A.M. Qattan Foundation’s new headquarters in Ramallah

display works in a public space is very hard. Given these obstacles, the mere existence of such large-scale institutions in Palestine is a symbolic triumph in the face of the hardships and injustice of occupation. But there are high hopes that both the Palestinian Museum and the A.M. Qattan Foundation’s new spaces will take Palestinian art and artists to a new level, both within the country and internationally. “The creation of the Palestinian Museum will save many artworks and stories, as well as our Palestinian heritage, and keep it in a public place to display and share with people,” says artist Hazem Harb. “I believe that such institutions will play a big role in documenting and consolidating contemporary Palestinian art. Palestine urgently needs the cooperation of both formal and private sectors to create an effective cultural and artistic scene,” Samah Shihadi agrees. “It’s about time.”

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THE MESSAGE

THE MESSAGE Global buying director Elizabeth von der Goltz champions emerging talent and discusses Net-a-Porter’s new mentorship scheme, The Vanguard

Photography: Supplied. Words: Annie Darling

e have always been in the business of scouting and So what are Net-a-Porter looking for from these designers? nurturing new fashion talent, it’s been an integral “Ultimately, we’re looking for brands that we believe have the part of Net-a-Porter since the beginning,” global potential to grow into meaningful businesses with a global buying director Elizabeth von der Goltz tells MOJEH. “We see resonance. The four brands we’ve launched with have been businesses explode overnight and while this is great to see, we selected because of the impact we think they’re going to have have a responsibility to our brands to ensure they stay big on the fashion landscape.” Which, she adds, isn’t an easy feat. after launch and help them continue to grow.” And so comes “Young brands have to show authenticity in their designs and The Vanguard, Net-a-Porter’s two-tier incubator programme a directional brand perspective. For instance, the duality of which formalises its commitment to emerging brands. Les Rêveries’ floral designs is unlike anything we have previously seen and Martinez’s Tier one highlights fresh talent, use of traditional Spanish shoe which will be displayed as a list on the site, while tier two intimately craftsmanship and original French supports four brands per season design lends itself to a new take on in its accelerator scheme which, the classic pump altogether. And Elizabeth says, will “make a real we love Ruh’s refined silhouettes different to their businesses.” and their artisanal approach, and Gu_de is the perfect combination For autumn/winter, Net-a-Porter buyers have scouted and selected of contemporary price point meets Les Rêveries, RŪH, Gu_de and compelling design.” Martinez for the programme, and Brands will only graduate from all four will receive marketing and the programme once their businesses have sufficiently business mentorship, in addition to exclusive distribution on the matured after having spent a few e-tailer’s site. “We want to help seasons on the site, and they have build these brands into successful Net-a-Porter’s customers to thank, and sustainable businesses,” says Elizabeth, who explains that explains Elizabeth. “In today’s they are the driving force behind industry, designers need to think this “insatiable appetite for newness and emerging talent.” long-term, their brands have to This season alone, the site is go beyond design and launch. launching 73 new brands with Our specialist teams can help Elizabeth von der Goltz, global buying director at Net-a-Porter a particular focus on emerging them do this through mentoring.” Brands will be offered meetings with the most senior members designers because of its customers’ desire for something new. of Net-a-Porter’s staff and coveted promotional spots. They’ll “Every time we launch a new brand that we’ve discovered at also have a presence in the company’s showroom and look books one of the fringe fashion weeks, such as Copenhagen, Tblisi or to generate exposure, as well as develop behind-the-scenes Seoul, our customers react so quickly to it,” explains Elizabeth. knowledge of how to make their dream a reality. “It is incredibly “They love the newness but also the fact that it’s unknown; they important for us to support new wave designers,” says Elizabeth. don’t just want to wear one designer head-to-toe, it’s far more “As a global online retailer we have a responsibility to nurture interesting to wear a mix of labels, so that appetite for fresh and develop these brands and prepare them for the future.” talent is definitely there.”

Photographed by Panos Davios

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